The Historical Origin of Chaozhou Music

Chaozhou music is the general name of all kinds of folk instrumental music circulating in eastern Guangdong. In addition to eastern Guangdong, Chaozhou music is also widely popular in southern Fujian, Guangzhou, Shanghai, Taiwan Province Province, Hong Kong, Macau, Southeast Asian countries and places where hipsters live. Chaozhou is the center and birthplace of Chaozhou music. Its origin can be traced back to the Tang and Song Dynasties and matured in the Ming and Qing Dynasties. The Tang and Song Dynasties were the formation period of Chaozhou music, and the Ming and Qing Dynasties were the evolution and development period of Chaozhou music. The music art in the Tang Dynasty was unprecedentedly prosperous. At that time, Chaozhou, like other counties in the south of the Yangtze River, had gradually entered the rising period of cultural development, and the sound of bagpipes, bells, gongs and drums and bells in Chaozhou was well known. Xiyan Temple was built in the west of Chaoyang County in Jin Dynasty. In the Tang Dynasty, Buddhism was unprecedentedly popular, and there were many temples all over the country. Kaiyuan Temple was built in the 26th year of Tang Kaiyuan (238), and Lingshan Temple was built in the 4th year of Zhenyuan (788)(79 1). Since then, many temples have been built all over Chaozhou. With the spread of Buddhist music in the Central Plains, Chaozhou and Chaoyang temples became the largest Buddhist music distribution centers at that time. In Tang Gaozong, Zheng Chen and his son (He Nan), who were ordered to quell the spring tide riots, are both musicians who are proficient in music. Chen was Xie Lvlang of Sui Dynasty, his son was proficient in temperament, and he was also the governor of Zhangzhou town (in charge of spring tide), so he was famous for being happy and enjoying the spring in Wuhan. Chen Yuanguang once said: Blowing the Phoenix, Zou Lu plays in spring, ethereal and delicate songs are restrained, and the dance is wonderful. Describe feasting, singing and dancing. In the mid-Tang Dynasty, when Han Yu was banished from the tide, there were already folk music activities to worship the gods. In Han Changli's Collected Works, Han Yu described the folk activities of offering sacrifices to gods in Chaozhou in Tang Dynasty as follows: drum and blow to make it fragrant and clean; Thank the gods with their voices; Famous sentences such as bowing, fasting, washing, playing music, etc. are also recorded in history books: Chaozhou officials advocate harps and pay attention to music to govern the people.

In Song Dynasty, there was a great event in Chaozhou to offer sacrifices to Confucius. According to the Records of the Yongle Dadian Sanyang collected overseas by Zong Yi Rao, Jiading rebuilt the Dacheng Hall of Xuansheng Temple dedicated to Confucius in the 14th year, and restored the old system: since the Song Dynasty, the Confucius Temple in Chaocheng has held ceremonies dedicated to Confucius every spring and autumn, and played Dacheng Music every year. The instruments used include chimes, sixteen songs, ten-string Hoang Cam, sheng, harp and so on. During the Xichun period, it was first sung by scholars and then played by folk musicians. It can be seen that the performance lineup is huge and the form is formal. This was the ritual music advocated by Confucian culture at that time, and it was the music of Jiao Fang, the Great Sage House in the Song Dynasty, formerly known as Great Sage Music. It was also the elegant music used for sacrifice in the ancestral temple at that time. This is obvious evidence of the spread of ancient music in Chaozhou.

The last years of Southern Song Dynasty. Song Emperor fled to the south, and Wu Bing, a scattered doctor in the Song Dynasty, arrived in the tide with the Qin Yuan Army in Wen Tianxiang. Wu Bing was a court music official who was in charge of musicians, geisha and ritual music. Later, Wu Bing settled in Chaoyang. In the Ming Dynasty, Li Ling, a native of Miancheng, Chaoyang, Jiangxi, retired to his hometown, built a learning palace in Chaoyang and spread court music. Later, Chen Chunlin, as an envoy of Guangxi, was awarded a royal gift for his achievements. When he returned to his hometown of Chaoyang Cotton City, the Holy Father gave a group of musicians and geisha to go home with him. This is an example of the spread of music in the Central Plains during the Song and Ming Dynasties, so Chaoyang Su is famous for its suite of flutes with Sheng, Xiao, Guan and Di as its main instruments. There is a record in Chaoyang County Records and Customs Records: Although Wanli, the hometown of the emperor, failed to compare with Tang and Wei Dynasties, it has been deeply transformed, and Fang Qi's string songs reached every corner in its heyday ... It can be seen that Chaoyang music was popular at that time. In the intertidal zone, there are five ridges to the north of the South China Sea coast, so that the ancient sounds of the Central Plains can be preserved relatively completely here.

During the Ming and Qing Dynasties, cities became more prosperous, and the commerce and handicrafts of Chaozhou (prefecture) town also developed, with a larger population growth. At that time, operas, ballads, bamboo music and drum music adapted to the life of the citizens were more prosperous, and these folk music clubs and artists were invited to perform every day. In addition, semi-professional first blowing halls and eight-tone halls have been set up in towns and villages to do red and white things for the people to blow. Every time these music hall organizations perform in festival celebrations or god-wandering competitions, they show superb skills and often set up a stage to compete, so Chaozhou (government) in Qingtian enjoys the famous Jieyang chicken shooting (music name, Chaozhou dialect is cockfighting); Haiyang Biting Goose and Chaoyang Victory Order (the name of Qupai) are all representative performances in various places, and they are all recognized by the masses as superb skills. At that time, there were also professional paper shadow classes, shadow plays and puppet shows. These musicians often imitate the river songs played by vocalists (that is, suonaka opera performances), and most of them are famous for playing Waijiang songs. Jieyang is a great master, with a variety of music categories that attract people's attention, adding rich content to the music life of Chaozhou people.

Since the Ming and Qing Dynasties, foreign (provincial) operas have poured in, and commercial performances are very frequent, which has injected new blood into Chaozhou opera. It can be said that Chaozhou music has deeper artistic nourishment and greater influence and income. For example, in the late Ming Dynasty, Andrew Opera (a southern opera) was linked from eastern Zhejiang and southern Jiangxi to southern Fujian, and from Dongshan County to Chaozhou Prefecture. The Flower Drum Opera in Qin Dynasty passed through Hunan, northern Guangdong, Huiyang, Haifeng and western Fujian, and spread to Chaozhou in Qing Dynasty through Hakka Jiaying House. In addition, there are Kunshan cavity, Yiyang cavity and Guilin cavity. Andrew Opera, Youqin Opera and Waijiang Opera successively settled in Chaozhou, Haifeng, Lufeng and Xingmei, and gradually evolved, which had a far-reaching influence on Yin Chao Opera. In particular, Andrew Opera has a profound set of traditional percussion techniques and rich and complete music of southern operas. Chaozhou Opera "Rooster" and "Cast the Net and Drum" were originally born out of the music accompaniment of Yin Zheng's play "Er Du Mei" and were adapted and arranged. Big gongs and drums "chasing boats", "celebrating the tenth immortal life" and "throwing women" were also born with the accompaniment of gongs and drums in orthography. The big gongs and drums "Qin Qiong pour the bronze flag" was born out of the legendary martial arts in western Qin opera and accompanied by Bai Zixi's gongs and drums. Waijiang Music is the music of Han Opera (called Waijiang Opera before the founding of New China), so it is also called Han Tune. Its music composition includes the combination of north and south, and it has a high-spirited and bold spirit. Percussion music is mainly accompanied by Su gongs and drums. Chaozhou drum "Guanglou" also absorbed the percussion music of Waijiang Opera, and the tunes of Waijiang Music (Han tune) were mainly played. At the time of Guangxu in Qing Dynasty, it was once popular in the whole tide, especially loved by literati, nobles and scholars, and was called Confucian music and national music. In Chaozhou, this clear sandalwood can be seen everywhere. Chaozhou musicians can play China, and there are many famous musicians. The influential figures are: Hong, Wang Zeru, Rong Zhen, Ding Hongye, Cai Shaomei, Liu Longyan, Zheng, Li Jiating, Rao, Wei, Fang Xiulun, Zhang Hanzhai, Hong and so on. At that time, there were many music clubs, the most famous public welfare club in Shantou, Chengshe and Huai Tian Swimming in Chenghai, Yangchun Youchu, Rongjiang, Punanxuan and Yannanxuan in Jieyang, Tian Jun in Puning, Nishang and Anjiang singing in Anbu, and friends in Chaozhou.