Who knows the history of Chaozhou music?

Chaozhou opera is also called Chaozhou opera.

Chaozhou Music Class is popular in eastern Guangdong, southern Fujian, Hongkong, Taiwan Province Province and Thailand, Singapore, Malaysia and Vietnam in Southeast Asia.

Chaozhou Opera is a local opera that is sung in Chaozhou dialect after the Southern Opera of Song and Yuan Dynasties spread to Chaoshan area in eastern Guangdong, integrating and absorbing Chaoshan music and other folk arts. In the Ming Dynasty, Dai Jing wrote in the first draft of "Customs" in Volume 18 of "Guangdong Tongzhi": "Tide customs often play with local accent." In the early Qing Dynasty, Qu Dajun wrote in Cantonese Newspeak: "Chaozhou Opera was sung by chaozhou people in a local accent." 1958 "Cai Bojie" sung in Chaozhou dialect and 1975 "Liu Xibi's Chai Jin Collection" unearthed in Feng Tang, Chaozhou and when Helong built the Western Hills in Ming Dynasty are the cultural relics evidence of the influx of Ming people and the local accent.

The tune of Chaozhou opera

The tunes of Chaozhou Opera were called "Chaoqiang" or "Chaodiao" in Ming Dynasty. There are two existing versions of Chaoshan dialect, namely, Reprinting Five-color Tidal Springs and Adding Poems to Goulan Beautiful Scenery in Northern Song Dynasty and New Thoughts on Wanli (158 1). Litchi Ji carved by Wanli New Temple, edited by Li Dongyue, is a different performance with the same story content as Lijing Ji carved by Jiajing. Jiajing's engraving "Li Jing Ji" has the words "super strong" or "all strong" in the suffix of the song name, which is a common script for two kinds of singing. It is not unique that two voices share a script. Chen Boqing's Complete Notes on Litchi, printed by Xin Mao, Shunzhi, Qing Dynasty, is a new publication and a general edition of Chaozhou and Quanzhou, which reflects some relations between Chaozhou Opera in eastern Guangdong and Liyuan Opera in southern Fujian in the historical development.

The era of the formation of Chaozhou opera

According to the research of traditional Chinese opera experts, it was about "before the middle of Ming Dynasty". From the publication date of Li Jing Ji in Ming Dynasty (1566), Chaozhou Opera has a history of 430 years as an independent vocal cavity.

Generally speaking, there are several types of Chaozhou opera: one is from the Southern Opera of Song and Yuan Dynasties and the legends of Ming and Qing Dynasties, such as Pearl by Cai Bojun, Broken Kiln, White Rabbit and Guangdong Carp by Gao Wenju. This kind of repertoire is the traditional repertoire of Chaozhou opera, which retains the traditional Qupai singing and Guan Mu performance and uses more elegant words. Some outstanding performances of Chaozhou Opera, such as Cai Bo's Recognition of Elephants, Window Sweeping Meeting, Lulin Meeting and Wellside Meeting, are mostly due to this. One is based on local folk stories and legends, such as Li Jingji (the story of Chen Sanwu Niang), Su six niang, Golden Flower Girl, Huang Yuerong (the story of Jieyang County Magistrate Feng and Huang Yuerong), Chaoyang Case (the story of Chen Rongniang) and The Crossing of Longjing (the story of Yu Weiniang); And local stories, such as, Liu Jinzhong went to Chaozhou, Liu rode a bamboo horse, Xiao Duanmeng killed the king of Jiangxi and so on. Among the plays with local themes, one is unique and reflects the life of overseas Chinese, such as "Guan Shuo Case" (written in residence? The contradiction between overseas Chinese and the evil forces in their hometown due to the problems of children and remittances) and "The Rich Husband" (writing the story of the black sheep crossing the ocean to make a living overseas and returning to China). This kind of drama is a reflection of the specific life in Chaoshan hometown of overseas Chinese, with distinctive local color. One kind is the civilized dramas that have appeared since the late Qing Dynasty and the early Republic of China, such as Lin Zexu burning opium, Xu Xilin, Yuan Shikai and Li Anyhow. And dramas adapted from popular novels in the late Qing Dynasty, such as Fenzhuanglou, Romance of Wanhualou, Seven Swords and Thirteen Heroes, Stone Case, Gong Peng Case, etc. At the end of the 1920s, young overseas Chinese in Thailand, led by Chen Tiehan, editor-in-chief of Republic Daily, organized the Youth Enlightenment Society, raised the banner of improving Chaozhou Opera, and showed films at that time, such as The Orphan Save the Ancestor, Humanity, Fishing in Song Guangming, A Lonely Valley, Sisters Flowers and LostSheep. , and drama. Another kind of drama is the costume drama written with new ideas and the modern drama reflecting contemporary life since the founding of New China. There are quite a few such plays.

The early business of Chaozhou opera

The early businesses of Chaozhou Opera are the seven businesses of the original Southern Opera, namely, birth, Dan, purity, ugliness, difference, end and post (post). The seven characters in Jiajing's block-printed Li Jing Ji are: Sheng (Chen San), Dan (Huang Wuniang), Jing (Linda), Ugly (Li Bai), Wai (Chen Boxian), Mo () and Zhan (Yi Chun). Among them, the roles played by the net, the ugly and the tail are all comedy roles, which retain the characteristics of the coexistence of the net, the ugly and the tail in the early stage of Southern Opera. After the late Ming Dynasty, these three kinds of trade gradually changed. The role of the network and the end play has developed into a non-comedy role, and the network cable has developed into a colorful business (Chaozhou opera is called bad face), playing the role of Yang Gang; The role played by the last line is divided into life line and Dan line. Ugly behavior is a relatively developed business of Chaozhou opera, which plays a wide range of characters, from emperors and princes to ordinary people and vendors. According to their dress, identity and performance characteristics, ugliness can be divided into official clothes, necklaces, martial arts, shuttlecock kicking, women, robes, men's clothes, hairy heads, old people and clowns 10. In many plays, there are clown characters interspersed among them, which makes the stage performance more vivid and interesting, so Chaozhou opera has the saying that "no drama is not ugly".

Childlike heart system in Chaozhou opera

During the reign of Qianlong and Jiaqing in Qing Dynasty, the children's order system appeared in Chaozhou opera, and both life and life were performed by underage children's orders. The source of Tong Ling is the poor peasants in rural areas, who sell their own 10-year-old children to the troupe in the form of prostitution contracts. The duration of prostitution is generally 7 years 10 month. During the period of prostitution, Tong Ling has no personal freedom. A troupe usually has about 30 children. The children's play system of Chaozhou Opera is different from that of Class 7 (Xiaoliyuan) of Fujian Liyuan Opera. Except for life and Dan, all other trades are performed by adult artists, forming a situation in which adult actors and children's dramas perform on the same stage. Tong Ling changed her voice at the age of sixteen or seventeen, and her artistic life ended. The bronze bell system greatly hindered the development of Chaozhou opera art and was abolished in the reform of Chaozhou opera in the early 1950s. About 150 years.

The early singing of Chaozhou opera

The early vocal music of Chaozhou Opera belongs to the combination system of tune and card in Southern Opera. A play consists of several tunes (North-South tunes), and the general structure is the introduction-overture (several tunes)-ending; Commonly used Qupai include four generations of Yuan, Phytolacca acinosa, pomegranate flower, mountain slope sheep, soap robe, pipa words and so on. Around the end of the Ming Dynasty and the beginning of the Qing Dynasty, the singing method of Qupai was influenced by Qingyang tune, and there was a "spring tide and elegant tune". "Elegant Tune of Spring Tide" is characterized by adding "rolling singing" in seven words according to the needs of the plot or the feelings of the characters. After Western Qin Opera, Han Opera and other banqiang operas were introduced into Chaoshan, this kind of rolling singing of up-and-down sentence pattern absorbed the changes of banqiang, such as three-eyed board, one-eyed board and running water board, and formed a new genre, which was called dual drama by artists. The rise of double drama broke through the structure of Qupai combination and formed a singing system combining Qupai and Banqiang, which has been used ever since.

Chaozhou Opera inherited the backstage singing method of Nanxi Opera.

Chaozhou Opera inherited the form of backstage singing in Nanxi Opera. From the scripts of Ming Dynasty such as Li Jing Ji and Golden Flower Girl, it can be seen that there was a chorus of Chaozhou Opera in Ming Dynasty, including a song or finale sung backstage and "Lotus, willow falling?" ..... "and so on. After hundreds of years of development and changes, the help singing has been preserved to this day and has become a major feature of Chaozhou opera singing.

Compared with other operas, Chaozhou opera is characterized by its musicality. The characteristics of Chaozhou opera music are inseparable from Chaozhou music. Chaozhou music we generally talk about includes string poetry music, fine music, big gongs and drums music, and temple fair music. It is folk music popular in Chaoshan area and overseas hipster society. Chaozhou music has a long history and has a far-reaching influence on the formation and development of Chaozhou opera music. First of all, the accompaniment music and door music of Chaozhou opera basically come from Chaozhou opera music, such as string poems "Pink Butterfly Picking Flowers", "Western Western jackdaw Playing in the Water", "Eighteen Banners", "Liu Qingniang" and "Thousand Lights"; Flute collection "Happy Climbing the Building", "Wan Huan" and "Wan Jia Chun"; Zaqu "Flower Drum Head" and "Little Pink". Many brands of gongs and drums and suona in Chaozhou Opera also come from Chaozhou's big gongs and drums music. Secondly, the unique modes of Chaozhou opera music, such as "light six", "heavy six", "soft five" and "anti-line", and the playing techniques of "three-variable time" have also been absorbed by Chaozhou opera vocals, forming emotional "light six", "heavy six" and "soft five". In addition, Chaozhou Opera's musical instruments, such as Er Xian Qin, Coconut Hu, Dong Xiao, Pipa, dulcimer flute, and percussion instruments, such as Gong, Dou Gong, Deep Wave, Muyu and Bronze Mirror, are also used on the stage, becoming the characteristic musical instruments of Chaozhou Opera.

Chaozhou opera and Chaozhou music are two kinds of Chaoshan folk art, but they are closely related. The active position of Chaozhou music is in the folk "music room" and "music club", which is called "music under the shed" by the masses; Chaozhou opera is performed on the stage and is called "rooftop music". Musicians can accompany the troupe on the stage or play Chaozhou music independently on the stage. Chaozhou opera music is not equal to Chaozhou opera music, but Chaozhou opera music embodies all the characteristics of Chaozhou opera music. They are closely related and are a parallel flower of Chaoshan folk art.

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