The Script of Haiyan Cavity and Its Accompaniment

In the history of the evolution of Chinese opera voices, the Haiyan accent is an important voice of the Southern Opera, which inherits from the "Legendary Old Cavity" and starts from the "Kunshan Shui-mo Cavity", but the script and accompaniment of its performance is still a subject to be studied in depth.

The Haiyan cavity is a legal type of opera cavity. That is to say, it is the word has the law, the cavity has the fixed frame of the southern opera "the right sound". So how is the script of this Southern Opera? First of all, we can get important information from "The Story of All Bottled Plums". According to the 36th, 39th, 64th, 70th, 74th and 76th recounting of the "words", Haiyan children to move, singing Haiyan cavity script repertoire are: "White Free Record", "Jade Ring Record", "Returning the Belt Record", "Fragrance Sachet Record", "Four Sections of the Record", "Treasure Sword Record", etc., which have been the attention of the theater scholars and the standard; more importantly, the "words" recorded "Fragrance Sachet Record" of "Chao Yuan Record", the "Chao Yuan Record", the "Scholarship", "Scholarship", "Scholarship", "Scholarship", "Scholarship", "Scholarship", and so on. More importantly, the complete lyrics of the "Song of the Morning Glory" and the "Jade Ring Tale" and the "Preface of the Painted Eyebrows" recorded in the "Words" are precious materials on which we can base our argument on the inheritance and homogeneity of the laws and cadences of the law-typed operatic pieces.

However, only with this historical material provided by "Words", we are not able to deduce and deduce the inner meaning with regularity, i.e., we lack the necessary conditions to accurately grasp and reveal the existence of Haiyan cavity scripts from the height of theory, such as the form, characteristics, scope, and time limit of Haiyan cavity scripts, and so on, and therefore, it is self-evident that the inherent confusion is inherent in the further exploration and discovery of the Haiyan cavity scripts.

It is gratifying to note that the historical value of the above mentioned words has been activated by the appearance of the late Ming Dynasty legend, "The Jade Pestle and Pestle of the Blue Bridge" (①). The third, fourth, and fifth articles of the play's "Regulations" clarify the inheritance and homogeneity among the old legendary cantons, the Haiyan canton, and the Kunshan canton from the aspects of the words, cadences, and dotted panels of the "present biography," and, under the control of this concept, delineate the entire historical period of the existence of the Haiyan canton's scripts from the early to the late Ming Dynasty. In this sense, the Blue Bridge Jade Mortar and Pestle Record is of great scholarly value.

The scholarly value of Blue Bridge Jade Mortar and Pestle Records lies in the fact that it clearly reveals the kinship between the Haiyan accent, the Kunshan accent, and the "Legendary Old Accent" in terms of the tone of the words.

The third article of the "Regulations" says:

The tone of this biography is mostly the same as that of the old legend, so it is easy for the singers to harmonize with the board, and there is no need to harmonize with it.

The so-called "original tone" is the lyrics (lyric form) and tune (music form) adopted by the legend; and the "legend of the old accent" refers to the voice of the old legend before the "Blue" drama. Since "this biography of the words and tunes of the legend of the old cavity", the two that is the same, so the harmonization of harmony, when it is inevitable; "sing to see the most easy to fit the board, no special strong harmonies", is also a matter of necessity. From this, we can see that this article of the "general regulations" essentially clarifies the historical origin of Haiyan cavity, Kunshan cavity and the "legendary old cavity" used in the same system. In view of the fact that the vocal cadences based on the song tags, because of the homogeneous characteristics of their lyrics and tunes, have a relationship of inheritance and succession between them, the definition of "Blue Bridge Jade Pestle and Pestle Record" and its pre-Nanqu vocal cadences as belonging to the same system is of profound significance in the history of the evolution of vocal cadences of the opera. Nowadays, the clear statement of the Fan Lei has undoubtedly become a strong basis for us to further define the script of Haiyan accent. In order to better elucidate this issue, we will compare the song of the "Legendary Old Cavity" with the similar song of the "Blue" opera to illustrate its vertical inheritance.

The song of Chao Yuan (朝元歌) is about the flowers and the willows, and the sunny threads outside the eaves. △ In front of the mountain and the water, the east wind is soft on the horse. ▲Self-sighing line, there is like a fluffy turn, △ Looking forward to hometown to stay, ▲Ye goose disappearance fish sinking, sadness full of who with the transmission? The day is short, the north hall of day, empty labor soul dreaming, ▲ (together) Luoyang is far away, △ when to go to the golden palace of nine, nine golden palace ▲?

--The sixth episode of "The Fragrance Pouch Chronicle" ("途叙")....

朝元歌冰清玉清, hugging the stone soul is still austere. The first time I saw you, I was so happy to see you. The winds on both sides of the river and the rain on both sides of the river are all in harmony, and the heart of the day is in the middle of the stream. I'm not sure if I'm going to be able to do this, but I'm going to be able to do it, and I'm going to be able to do it. I'm not sure if I'm going to be able to do this, but I'm sure I'll be able to do it in a few minutes. I'm not sure how much I'm going to be able to do this, but I'm sure I'll be able to make it work for you.

--The twenty-third episode of the Blue Bridge Jade Pestle Records, "The Reward of Jonas"

The Incense Sachet Records is a Haiyan script described in the Words, and the Blue Bridge Jade Pestle Records is a Haiyan/Kunshan script, while the song The structure of the song and tune is the same, so the relationship between their inheritance and their inheritance can be seen at a glance. Now take another example, can also get the same conclusion:

Liangzhou Preface ④ new Huang pool pavilion, acacia shade courtyard, △ day forever red dust separation. ▲Bi Ran Xuan, cold fly Suju Qingquan, △Conscious of the fragrance of the muscle without heat, the quality of the wind, a small woven mat Luang rod show. I'm not sure if I'm going to be able to do this, but I'm sure I'll be able to do it, and I'm sure I'll be able to do it. （The first thing you need to do is to get your hands on a pair of shoes or boots, and then you'll be able to get your hands on a pair of shoes or boots, and then you'll be able to get your hands on a pair of shoes or boots.

--The Pipa Chronicle, 22nd episode, "The Zither and the Lotus Pond"

Liangzhou sequence of tufts of hair and goodwill, and now I'm a young man, △ ashamed that I first chattered about heaven's favor. I'll send you to the north, and I'll take the first whip on the Chang'an Road. The first thing you need to do is to get your hands on a new pair of shoes or boots, and then you'll be able to get your hands on a new pair of shoes or boots. I'm not sure if I'm going to be able to do this, but I'm sure I'll be able to do it. I'm not going to be able to do that, but I'm going to be able to do that, and I'm going to be able to do that. ▲ (together) the cup is shallow, the pour must be full, the difference is not tired of frequent advice, △ today, I do not know when to see.

--South West Wing, the second "Golden Orchid"

Liangzhou preface that ten continents and three islands, the jade palace hall, △ separated from the East Ocean water weakness. ▲Welcome the immortal looking at the sea, the clouds and waters of that year are distant, △Darkly think that the hewer rides the sun and the moon, the pot injected into the Qiankun, I do not know if I have ever passed the Qingwu? I'm not sure if I'll ever be able to get a hold of the Green Lantern, but I'm sure that I'll be able to get a hold of the Green Lantern. The first thing you need to do is to get your hands on some of the most popular products and services in the world, and then you'll be able to get your hands on some of the most popular ones.

It is the 10th song of the Blue Bridge Jade Mortar and Pestle Records, "Wind and Thunder"

The number of words (not counting the liner notes), lines, and rhymes of the above five songs are in accordance with the provisions of Shen Jing's "Record of Lyrics".

Another academic value of the "Blue Bridge Jade Pole Records" lies in its clarification of the homogeneity of the Kun and Zhejiang cadences.

The fourth article of the "Regulations":

This biography of the cavity of the original Kun, Zhejiang, and the Regular Record imitation of the Zhong Wang, are washed with mortal vulgarity, to catch up with the elegant, with the eyes of the law, when they distinguish themselves.

Haiyan cavity research papers

The so-called cadence, that is, vocal cavity cavity, it and the cavity corresponds to the cavity belongs to the basic tunes, cavity is the genre, that is, the actual singing effect. Haiyan and Kunshan are both of the same type of vocal cadence, and their cadences are also the same. Now, the "Regulations" that "this passes the tune with the Kunzhe", it can be seen that the Kunzhe two cavities will not be far apart, should be *** for the very similar to the elegant work, so the "Autumn Leaves Essay" cloud: "Haiyan cavity used in the song with the Kunzhe used, and there is no difference also, ... ...the situation of Haiyan accent puri singing is also no different from Kunshan accent" (6), which can be said to be right on the mark. The author has roughly counted the number of tunes used in the two biographies of "Blue Bridge Jade Mortar and Pestle Story" and "Raccoon Sage Story", 113 tunes in the former and 187 tunes in the latter, with 58 tunes with the same name, which can be regarded as one of the corroborating evidence. In order to specifically analyze the horizontal homogeneity of Haiyan and Kunshan, as well as to prove that the tune is the basic, and the cavity is subordinate to and attached to the tune, I would like to cite some similar tunes used in the legends of the same period as a comparison, for example, the same as during the period of Jia and Long, the "Raccoon Tale" and the "Jade Zan Tale". Nian Nujiao (7) Dan Maple Leaf Dyeing, △Chart Lake Light Shallow, cool Shang Su, ▲West Emperor Chen Tour Flying Cui Gai, △Crowded out of the three thousand palace maidens. ▲Jiangcai Jiaochun, Lead Hua Dazzling Day, △ Occupy broken mandarin ducks Pu. The first thing you need to do is to get your hands on a new one, and then you'll be able to get it done.

--The 30th episode of "The Raccoon Tree"

Nian Nujiao's prosperity has passed by, △ like waking up in a dream, the world is separated from the present day. I'm not sure if I'm going to be able to do this, but I'm sure I'm going to be able to do it, and I'm sure I'm going to be able to do it. The first thing you need to do is to get a good deal of money to pay for the services you need. The first thing you need to do is to get your hands on some of the most popular products and services in the world.

--The Jade Hairpin, the fourth episode of "The Tale of the Jade Hairpin", "The Shipwrecked"

Another example is the Linchuan School's Tang Xianzu's "Peony Pavilion", the Wujiang School's Shen Jing's "The Heroes of the Righteous", and the "Blue" theater's similar song patterns, all of which were written at the same time in the Wanli Period:

Laziness The most provocative color of spring is this year, what is said to be low on the high side of the powder painting wall, the original heart of spring is everywhere not flying suspension.

-The twelfth performance of "Peony Pavilion", "Searching for Dreams"

Lazy eyebrow painting was done in front of the curtain yesterday, and two eyes were looking at each other with a ****ing joy. The heavy door was entered in darkness. The water flow where the flowers are on the side of thankful, the road between the peach garden cloud ten thousand stacks.

--"The Book of the Righteous", the fourteenth "coitus"

Lazy eyebrow who slowly step into the Qingxu, under the flowers to meet the shadow of the half-described, so it is the immortal Lang Yuyuxing night by the ladder, look at each other since the love of this night encounter, did not allow the ice wheel to promote Wangshu.

The first part of "The Blue Bridge Jade Pestle and Mortar"

Through the above comparisons of the structure of the several song types, we can understand that, according to the traditional method of "leaning on the voice to fill in the lyrics", the song is written by the method of making music. The saying that "the original cadence of this tradition belongs to Kunzhe" actually indicates that any script sung in Haiyan cadence can be sung in Kunshan cadence. In other words, the legendary repertoire of Kunshan accent can also be used for Haiyan accent--this is another connotation of the "Regulations". Therefore, Zhan Mutao's assertion that the relationship between Haiyan and Kunshan is "one and the same" (8) and Ye Changhai's analysis that Tang Xianzu's plays are "first and foremost sung by the Haiyan accent" (9) are both superb insights.

Yongan Lake (now North and South Lake)

"Blue Bridge Jade Mortar and Pestle record - the fifth article mentioned the Haiyan, Kunshan, the two cavities of the point of the board, but there are differences in the speed of the board, it is worth noting that: "the lyrics and songs do not add a point of the board, the edge of the Zhejiang plate, Kun plate speed of the board, it is difficult to glue to the certainty of the reason. But the side sub-sentence reading, in order to view." Zhejiang plate fast, Kun plate Xu, is an illustration of the Ming people Kunshan cavity after Wei Liangfu and other people's processing, "more Haiyan and for the clear and soft and folding, the length of a word, and extended to a few breaths," the charm of the art. Therefore, Shen Petsui's "Duqu Instructions" said Wei's innovation of Kunshan cavity: indignation of the South Qu's black and white, all wash the sound of a good boy, don't open up the hall of Austria, call the water mill, patting the cold plate. The sound of the voice is the harmony of flat, up, down, and in. The word of the head, belly, tail of the Bi even, work deep mother casting, gas without fireworks, open mouth light round, sound pure fine ...... to have a different way of singing, never the theater sound mouth.

"Calling water mill, patting the cold board" of "other singing methods" is the key to the innovation of Kunshan cavity is very different from the "Haiyan old tune" which has been passed down for a long time. (The so-called "genre" can be seen here). In this regard, the "Regulations" explains the difference in rhythm between the two chambers from the perspective of the beat of the lyrics, i.e., a change in the speed of the board will cause a change in the urgency and slowness of the words and cadences, and thus produce different singing effects. Admittedly, the colorfulness of the genres caused by the difference in the tempo of the boards is only one of the important factors, and the plasticity of the cavity caused by other factors such as the region, the square tone, and the tone of the voice is also a factor that cannot be neglected.

As mentioned above. The close relationship between the legendary old canton, Haiyan canton and Kunshan canton, whether in terms of vertical inheritance or horizontal homogeneity, has lasted from the early Ming period to the middle to the late Ming period throughout the Ming dynasty; if one says that the legends of the early and middle Ming period were

If it is said that the legends in the early and middle Ming Dynasty were sung in Haiyan accent, then, in the late Ming Dynasty (after Longwan), they were sung in Haiyan and Kunshan accent. The Haiyan accent not only has a close relationship with the old legend and the Kunshan accent in terms of lyrics and cadences, but also has an equally important position in terms of accompaniment.

However, there are a lot of divergent views on this among opera scholars (11). In fact, the sound of the opera has a song, and subject to the Palace, the accompaniment of the set is inevitable, not to mention the Haiyan cavity of the law-type song cavity, so there should be accompaniment on the field more undoubtedly. Now from the following two aspects to be examined.

First of all, according to the Ming literature, Haiyan cavity not only has flute and pipe accompaniment, but also had a separate system of string cavity.

First, the popularity of the Haiyan Chamber (before the Kun Cavity) is accompanied by flutes and pipes in the southern opera. Ming He Liangjun "tune" cloud:

Yu make the old man teach "eery music" one or two songs, the drainage cloud: "eery music" song a certain are sung, but these are all the latter in accordance with the cavity according to the word will be played out, just as a good flute pipe blowing, listening to the people singing song in accordance with the cavity blowing out, called 'singing tune'! ......"

And Shen Defu "Gu Qu Miscellaneous Words - strings into the song" contains:

He also taught women ring a number of people, are good at the northern song, for the south of the Church of Don Ren appreciated. Dun Zeng with Wu Zong into the capital, all the northern legacy of sound, unique in the southeast; ...... its discussion of the song, said: "the southern song xiao, pipe, called the 'singing tune' ......

By He's and Shen's words, are referred to with the pipa accompanied by the pipa record, the old man that is Dun Ren, Zhengde between people, it can be seen, the Haiyan cavity of the popularity of the era of the South Song, is already accompanied by the pipa ("Harmony of Harmony" music "in the text in the He is the Haiyan cavity. (See below).

The Ming literature described the accompaniment of the southern and northern songs, which can be divided into two categories: one is the northern song to plucked instruments as accompaniment, the cavity is said to be "strings and cords cavity"; the other is the southern song to blow the musical instruments as accompaniment, the cavity is said to be "singing tune". At the time of these two different forms of accompaniment, has been recorded in the relevant literature, such as the "Qu Theory" record Dun Ren said:

Strings and cords nine palace of the song, or with the rolled strings, flower buckle, and samarium strings, all have fixed rules, so the new song to be easy to degree into the ...... flute tube a little longer, shorter sound can be on the board, the strings and cords, if more than one play or less than one play, then take the board! It can be done at will.

In this regard, Shen Fengsui's "Notes on the Duoqu - melody survival" also pointed out that: "the ancient strings should be solicited, in today's more different. Today, there is not the Gongshang, and the fixed spectrum of the rise and fall, but the song is also high and high and play, the song is low, the finger is also low to bear, really like the xiao, the pipe together with the southern tune, the beginning of no advocate of the sub its interactions." Wei Liangfu "Qu Laws" also mentioned: "xiao, pipe to work feet Li word song ...... to the sound of the high and put together the high of the song, to the sound of the low and put together the low of the song, back enough to confuse the right sound, especially for the raucous ears."

Here the "right sound" refers to the strings. "Singing" and "strings" against, one with wind music, one with strings, in the Ming dynasty composer's notes, are mentioned more than once. It should be noted that the difference between the two kinds of accompanying instruments, the key lies in what instruments are used as the main accompaniment, that is, the "strings and cords" is to pipa and other plucked instruments as the main accompaniment; "singing" is to cross flute and other wind instruments as the main accompaniment. As far as the Ming literature records, the early Nanqu "singing tunes" generally did not use stringed instruments, and only after the Kunshan cavity came out did they add stringed music. However, at that time, the songwriters were not satisfied with this, and there have been repeated disparaging remarks, such as "Gu Qu Miscellaneous Words" cloud:

Young actor Wu Lan

Today's Wu are all three strings with the southern song, and xiao, pipe leaves, which the Tang said "Jin Zao on the straw raincoat," the Jin Su Taoist "Golden Statue Poetry," as the cloud" Confucian clothes, monk's hat, Taoist". Confucian clothes, monk's hat, Taoist shoes". The xiao, pipe can be into the northern words, but the strings do not enter the southern words, cover the southern song does not rely on the strings for the rhythm also. The above quoted text to strings and cords can be accompanied by xiao, pipe (i.e., "xiao, pipe can be in the northern words"), so the "strings and cords" has the name of "strings and pipes" (or "strings and pipes"), but the "strings and cords" is not the same as the "strings and pipes". Therefore, "strings and cords" has the name of "strings and pipes" (or "pipes and strings"), but "strings and cords are not in the southern lyrics" does not mean that there is no wind accompaniment in the southern songs. In addition, Mr. Wang Liqi collection of "Yuan, Ming and Qing Dynasties, the ban on the destruction of novels and operas in the historical materials" in the "thousands of Yu let the son of Yu Duan, playing the flute singing, will be the upper lip and even the tip of the nose to cut off" records, etc., can be regarded as the flute accompaniment of the southern music of the circumstantial evidence. Ye Dejun "opera novels series of examination" cloud: "...... He Liangjun "Siyouzhai series of sayings" Volume 39 on the North and South song wrote: 'pipe flute a little long and short of its sound, can be on the board. Suo string if more than one play less than one play, then take away the board carry on.' What He said was between the Jiajing period. It is not known what the Southern Songs with flutes and pipes refer to here." In fact, Ye's so-called "unknown reference", it is "harmonious music" singing tune.

This shows that the Kunqiang before the southern opera, such as the above quote "Pipa" "singing", accompanied by a flute should be recognized.

Secondly, the "Zheyin" (Haiyan accent) had a separate string cavity.

Haiyan cavity is also known as "zheyin" and "zheqiang". "Zhejiang sound" see Tang Xianzu "Yihuang County play god Qingyuan division temple records":

"South of Kunshan, followed by Haiyan, Wu and Zhejiang sound also, to beat for the section"; Liu Tinggui "in the garden magazine": "Jiangxi Goyang cavity, Haiyan Zhejiang cavity is still ancient style".

Tong's "Wu sound Kunshan", "Zhejiang sound Haiyan" and mentioned, Liu's explicitly said "Haiyan Zhejiang cavity". Obviously, the Ming literature recorded in the "zheyin", "zheyin", all refer to the Haiyan cavity, and the Haiyan cavity in the pre-Ming period that they have stringed instruments accompaniment, which is the same in the Ming literature is based on the explicit text. Such as Lu Cai "Yecheng guest theory" cloud: "the beginning of the state workshop has Liu color long, to Taizu good south song, don't make new cavity song, than the zheyin slightly Gong tone, so the south has been passed on to this day. Recently, the beginning of zheyin, prostitutes or abandon the north and south, into the end not into the strings". Another example is Xu Wei, "South Word Record": "Gao Huang laughed and said: 'Gao Ming, "Pipa Records" such as the mountain treasures and sea errors, rich and responsible for the family can not be without '...... by the day to make the excellent people into the show, looking for trouble it can not be into the strings, the order of the teaching workshop Fengluang Shi Zhong counted on the color of a long time! Liu Gao Liang who then wrote to offer. South song north words can be in the zhengpi by the, but the end of the soft, scattered hostile, not like the northern song into the ear also".

Accordingly, the "Pipa Records" before the article "Don't make a new accent song" is the "Zheyin" which has not been strung, and the "Zheyin" which is slightly more in tune with the Gongtiao than the "Zheyin" is the "Don't make a new accent song" which has not been strung. The "new accent" refers to the "Pipa Records" which was not strung. And, He Liangjun "Qu" cloud: "recently more Shang Haiyan South Song ...... popular as one, or even the North also moved and delayed, and more several generations later, the North Song is also lost". This refers to the "Haiyan South Song", that is, Wang Gide "Curve Law - on the source of the first song, the cloud of the" South Song ":" ...... (South Song) Wanli charming, so the beauty and goodness of the song, so the three sighs. A sing three sighs, so the beauty of both good and excellent, the cause of the tone of ...... since the last year, Yan and Zhao singers and dancers, Xian abandoned its Hum dial, all the effect of the southern sound, and the northern words a few abolition".

Summary of the above said, can be seen in the "Zhejiang sound", "South Qu", "Haiyan South Qu", "South sound "and so on, at that time all refer to the same thing. If the text of the above will be further evidence to the "Yecheng guest theory" in the "near the beginning of the still Zhejiang sound, prostitutes or abandon the north and south" language, cover the Zhejiang sound that is the southern song, the southern song that is the Haiyan cavity, so, the Haiyan cavity had a different system of strings "new cavity", it should be a conclusive. We from the "beautiful and charming, a sing three sighs, ...... so beautiful and good both to the extreme sound of the cause" and so on all kinds of praise words, can also be learned that the South Song was originally a cavity, is not "Zheyin "into the strings of the string began to have, such as the degree of the song instructions" "preface", "where the fourth" said "South Song to more Square spectrum, The so-called "Southern lyrics spectrum" is. The so-called "southern lyrics spectrum", i.e., "the whole spectrum of southern lyrics", "the three melodies of southern music", and so on, and the "strings spectrum", such as "strings and strings to identify the blackmail", are all said to be spectrums. However, regardless of the South and North, a song has a song of the lyrics of the meter, there is a song of the law, the fixed plate, the degree of the song instructions - Qu Yun long decline, pointed out that: "the ancient law is obliterated, there is a card name and the spectrum or Mok Kao, there is a music score board or no sign, or there is a board with a spectrum, and the original cavity frame, such as the head of the service, upside down, all kinds of off hostile son, how to be placed, and never pay attention to what it says! "The article also cites the Jixianbin, which is a great example of the use of the music of a Chinese opera. The article later cited Jixianbin as an example of a low cadence, step by step for a high cadence to illustrate. It can be seen that, since the score, the score board, the cavity frame is different because of the difference in the name of the card, so the southern song has a cavity of the said, it is more confirmed in the "Yecheng Guests" in "don't make a new cavity" is a basis.

Dai Bufan pointed out that "(Haiyan accent) drums and boards are very important percussion instruments in the performance". In addition, the oral tradition of folk artists, both to "drum board" specifically referred to the troupe, but also a pair of "drum board" on behalf of an accompanying scene. For example, the "Drumboard Sedan Chair" that was passed down in Ruian, Wenzhou, and the "Drumboard Pavilion" in Yongqiang, Wenzhou, are all named "Drumboard", and the accompanying musical instruments actually include the following The accompaniment instruments actually include flute, erhu, clapperboard, and so on.

In short, the term "drum and board" is not a general reference to the "snare drum" and "board", and the single understanding of it by recent music scholars is one of the important reasons that lead to a lack of agreement on the issue of accompaniment of the Haiyan accent.

"Drums and boards" are the accompaniment of "singing and earning" in all the palace tunes, and after the sets of all the palace tunes were absorbed by the Southern Opera, the three major musical instruments used for the accompaniment of "singing and earning", i.e., drums, clapper boards, and flutes, were also inherited by the Southern Opera, therefore, they are also used for the accompaniment of "singing and earning". Also inherited by the Southern Opera, therefore, the Haiyan and Kunshan cavities of the Southern Opera use the "drum board" as the accompaniment, and the three major instruments used for the accompaniment of the Kun cavity are the inheritance of the Haiyan cavity tradition. The addition of "curved strings" to the accompaniment of the Kunqu Opera shows on the one hand that Wei Liangfu absorbed stringed instruments on the basis of the Haiyan Opera's use of "drums and boards"; on the other hand, the success of the innovation of stringed instruments also shows that the Haiyan Opera had "made a new opera style" at the beginning. "The General History of Chinese Opera, when discussing the accompaniment of the Southern Opera of Song and Yuan Dynasties and the accompaniment of Kunshan Opera, both indicated that they had "drums, flutes and clapper boards", but Haiyan Opera was considered to have "no orchestral accompaniment". "no orchestral accompaniment" (13), thus in the legend of the old cavity - Haiyan cavity - Kunshan cavity in the evolution of the historical process, so that the chain of tradition broke a link, which is really regrettable.

To sum up, the face of Haiyan cavity script and its accompaniment not only has a clear copy of the original historical appearance, but also in the history of the evolution of the vocal cavity of the opera, wrote an indelible page of splendor.