Folk Songs and Minor in Ming and Qing Dynasties

Folk songs are an artistic form for working people to express their thoughts, feelings and wishes, and also a powerful weapon for their daily life, productive labor and realistic struggle.

During the Ming and Qing Dynasties, people of all ethnic groups created various forms of folk songs, such as those of farmers in the suburbs of Beijing. Transplant songs? 、? Orange Harbor Water Song? (Ming? Dong Liu, Yu Yizheng, brief introduction to the scenery of the Imperial Capital, farmers in Qiongzhou, Sichuan? Yangko? (Ming "Qiongzhou Zhi"), from Wudi, Jiangnan? Folk songs? (Ming? Feng Menglong's "Folk Songs"), Acura (Qing? Wang Yi (Music Score), a native of Hengshan, Hunan? Tea picking songs? (Qing? Liu Xianting's Yang Guang Miscellaneous Notes), chaozhou people, Guangdong? Yangko? Women in Nanxiong, Changle and other places in Yue Bai sing this song during the Mid-Autumn Festival? Step on the moon? 、? Moon song? (Qing? Li note "South Vietnam"), Bo people in Guangxi? Scarlet song? (Ming? Kuanglu's "Chiya"), Dong's Pipa (Ming? Tian Rucheng's Inflammatory Moon Hee and so on.

These folk songs have different styles and characteristics because of different geographical environment, people's customs and languages. They all perfectly reflect the people's ideological requirements, and have a strong fighting spirit and a strong flavor of life. So the rulers of Ming and Qing dynasties were greatly frightened. For example, what did the Criminal Law Miscellaneous Offenders stipulate in the code of the Qing Dynasty? Where there are arrogant people who make up words because of things, knead them into songs, sing along the street, and print folk words, and local palaces at home and abroad will inspect them in time? . However, these measures can't shut people up. They also created many folk songs that exposed the evils of the feudal ruling system and praised the people's uprising in the fire of life, labor and real struggle, such as Amin folk songs recorded in Tan Qian's Zao Lin Za in the Ming Dynasty:

The fish in Fuyang River, the tea in Fuyang River, the fish fat sells my son, and the tea fragrance breaks my home.

Tea pickers, fishermen and government officials were plundered to pieces.

It shows that under the cruel exploitation of the Ming government, even in the bumper harvest year, farmers can't escape the tragedy of selling their children and genocide. As for natural disasters, not to mention their horror. Another example is a folk song in the late Ming Dynasty recorded in Ming Ji Bei lue:

Eat his mother, wear his mother, open the door to see the king, and the king will not receive food when he comes. This folk song reflects the people's longing for the early arrival of the peasant uprising army led by Li Zicheng in the late Ming Dynasty. Another example is the Qing folk song "Qiyu Kangqing December":

This song celebrates the early Qing Dynasty (16 18? 1662) Yu Qi, a native of Tangjiabo Village, Qixia County, Shandong Province, led the uprising peasants to bravely fight against the Qing army. Another example is the folk song "Miao People Uprising" in the Qing Dynasty, which eulogized the heroic deeds of the Miao Ganjia Uprising in the sixty years of Qianlong (1795). But more are some beautiful lyric songs, such as Wu Dishan's song "On the Moon" in the Ming Dynasty:

When Youlang made an appointment with the moon, there was a canal on the top of the moon. Hey! Fu's daughter is at the beginning of the low mountain, alas! Fu Zhilang's mountain is high and the moon is late.

This folk song boldly praises the pure and simple love of the working people by describing a woman's mood of waiting for a tryst with her lover at the foot of the mountain. Another example is the Dong folk song "Sister Acacia":

My sister is lovesick, and I know that my sister has a sincere brother. Spiders are weaving webs at the mouth of the Three Rivers, and the current keeps pushing silk.

It expresses the loyal love of the working people.

Generally speaking, the characteristics of Ming and Qing folk songs are simple and rich, such as Qiongzhou in Sichuan in the Ming Dynasty. Yangko? When singing, one person beats the drum, with wooden frames on both sides of the drum and mud on the drum surface. In fact, it is the predecessor of Yangko, which is still popular in Sichuan. In the Ming Dynasty, the pipa songs of the Dong people were accompanied by two strings of pipa. Jiangnan yangko is a form in which one person leads the singing and everyone helps to sing. Wu folk songs are generally composed of four sentences, such as On the Moon, so they are also called four folk songs.

There are also some large-scale forms of folk songs in this period. For example, Wudi long-tune folk songs in the Ming Dynasty are divided into the first and second paragraphs of two sentences, with a ditty inserted in the middle. Sometimes it can be placed in front of or before or after the song; Or insert plain English between the front and back of the ballad, and then follow it with a ditty. This long-tune folk song is actually an artistic folk song. Its further development is to increase the number of short songs inserted before and after, and rap a short story. For example, in the book Folk Songs compiled by Feng Menglong, six songs, such as Cat Falling, Guizhi, Stay in Yun Fei, Lazy Thrushcross, Soap Robe and Sweet six niang, are used at most. It can be seen that this long-tune folk song has a tendency to transition to rap music.

Xiaoqu is a popular song developed on the basis of folk songs in various places, also known as? Folk songs? .

It first appeared at the end of the Yuan Dynasty, and Gao Zecheng's Pipa and other Yuan Sanqu have used ditties such as Guasha Er and Shanpo Yang. At first, it was popular in towns and villages around the country, and later it entered the city and sang in the Gelou pub. In the city, through the efforts of folk professional artists, the art is further matured. About Xuande Wanli in Ming Dynasty (1426? 1620), several Xiaoqu centers have been formed in Beijing, Bianliang, Yangzhou, Chengdu, Quanzhou and Panyu (Guangzhou). Between them, there are not only exchanges, but also different creations.

Among the existing Ming Dynasty ditties, Wan Juan Lin Wen Ju Bao, which was popular in Wanli period, and Bang■ Tai, Children's Play, Suzhou Song and Bean Leaf Huang, which are contained in Zhu Zaiyu's Ling Xing Xiaowu Manual, are the most reliable. Among them, Children's Play was sung in Kaifeng before Jiajing (Wan Ye Li was edited by Shen Chongsui in Ming Dynasty), and Suzhou Song was mainly popular in Jinling, Fujian and other places. Judging from the melody, the former is cheerful and warm, while the latter is sad and deep, but both of them are unpretentious and full of strong local flavor. It is not only different from Song Ci, but also different from the gorgeous ditty in Qing Dynasty. From these two examples, it seems that we can see the change of a generation's music style.

Around the Kangxi period of the Qing Dynasty, ditties in various places had new development and gradually began to transition to rap music.

At that time, the northern ditty centered on Beijing had broken through the single solo forms such as Nangong North Drum, Luojiang Complain, Indigo Cut, Mountain Back Tune, Taiping Year and Scaring Parasitic Grass. A turning point? On this basis, it developed into a form of divertimento. ? A turning point? It is a kind of folk song that appeared in the early Qing dynasty. Its basic form is only six sentences, and it is also three strings and six paragraphs. It is also called? Flat tea? . ? Flat tea? In six paragraphs, you can often add interlining and embedding sentences according to the needs of the content, so you have it again? Number bifurcation? 、? Slow fork? The same form. The basic form of Beijing Xiaoqu divertimento is to divide Pingcha into two parts, and then insert a divertimento in the middle:

Flat fork (the first three sentences), single song and fork tail (the last three sentences). However, with the need of content, some songs are inserted more or less in the middle, which is irregular. In addition, sometimes several forks+fork tails+a song can be combined into a suite.

The further development of Beijing Xiaoqu began to become? Dan Xian? . Danxian is accompanied by three strings, and its musical form consists of the first song (three sentences before the fork)+several songs+the end of the song (three sentences after the fork), which is generally used to sing a complete story. In Danxian? Count and sing? It is the cause behind the curved head. It was originally a unique folk song in Beijing in the Ming Dynasty. Liu Dong and Yu Yizheng's A Brief Introduction to the Scenery of the Imperial Capital has a unique form, which is similar to the recitation without a fixed tune. Lyrics are composed of two four sentences, which can be repeated many times. The rhythm seems to have a unified regulation:

It and the curved tail can sometimes be omitted in the immortal, so the form of the immortal is also very flexible.

The ditty in Huaibei and Jiangnan areas centered on Yangzhou is also called "? Singing? . At that time, there was a form of divertimento in which some brands (songs only) were divided into two parts, and several different brands were inserted in the middle. In addition, there were singles such as Yinniu Temple, Four Scenery, Broken Jade and Backward Paddle. So the number of inserted brands determines the length of music. Usually, the number of insertions is uncertain. For example, what is the name of this form with "Manjianghong" as the head and tail and then inserting four other different brands? Five-petal plum blossom? ：

Manjianghong, Yinniusi, Yangzhou Song, Matoudiao, Manjiang.

Another example is the popular Shanmen Liufu in Wuxi. It is based on six different brands of parasitic grass, so it is called? Liuxi? ; And then what? Shanmen? , is the title of the music content. Inserted or connected brands can generally extract some of them at will according to the needs of music, and not all of them may be inserted or used. But also can be replaced with different ones after being inserted or used. This kind of musical form with a certain brand inserted seems to be the same as Yuanqu. Transfer vendors? As well as Liang Wudi's long folk songs in Ming Dynasty, all have their similarities.

Yangzhou ditty is usually sung only, accompanied by pipa, Sanxian, Qin Yue and sandalwood. Li Dou's Yangzhou Painting Grease Record).

The ditty in Bianliang area was originally a northern ditty. Later, it spread to Yuxian and Nanyang, the commercial centers of Henan Province, and absorbed the ditty south of the Huaihe River, which developed into a drum song that is still circulating today during the Qing Dynasty.

The musical form of drum music is divided into south and north groups except one song. The basic musical form of the Northern School is composed of several brands inserted between the drum head and the drum tail. The basic musical form of Nanpai is divided into two parts with the brand of Dock Harmony and Manjianghong, and several brands are inserted in the middle to form a divertimento. In the development of these two basic forms, the brand inserted in the middle has also produced various linking methods. But it can be roughly divided into two forms: the entanglement of all different brands and the entanglement of only two different brands. There are not a certain number of brands inserted in the middle of the drum suite, so most of the small forms inserted are folk songs, and most of the big forms inserted are rap music.

Generally, drum songs are sung without white, but some are both white and white. Its accompaniment instruments are mainly three strings, supplemented by pipa and Zheng, and there are also two strings (Luoqin), Erom (small), even board, octagonal drum and moon drum.

During the Kangxi period of the Qing Dynasty, in addition to some large industrial and commercial cities, many small and medium-sized county-level ditties also developed, such as the ditty in Zichuan, Shandong Province at that time, which was mainly accompanied by three strings. In addition to the drum word form composed of a ditty and the same tune repeatedly, its musical form also has the following forms: first, the whole ditty is used at the beginning and end, and one or several other ditties are used in the middle.

This is the basic form of this divertimento. It adapts to different contents and can also have various changes. Such as: playing with children, soap shirts, playing with children, soap shirts, playing with children.

It can be understood as a combination of two identical basic forms, but the repetition of Play with Children and Soap Shirt also shows that it has entangled structural factors. Another example is: playing boy, Han Toulang, playing boy, breaking jade, playing boy, breaking jade, western tune, breaking jade, western tune.

It can be understood as being connected by five different basic forms. Secondly, several different Qupai are combined to form a binding sequence: Broken Jade, Fangsiniang, Yinniusi, Backward Paddle, Broken Jade, Yayayou, Broken Bridge and Qingjiang Yin Yin.

The purpose of these divertimento forms is naturally to show a more complicated and longer story. Therefore, at that time, Zichuan ditty was not only a folk song, but also a kind of rap music that could perform long stories.

Like folk songs, many realistic works have not been preserved, but some have been preserved by accident, such as Qing Palace. Cut indigo flowers in The Heritage of Snow edited by Hua Guangsheng? Grain ships are not recognized? Is to capture the characteristic image of things in life at that time? The grain ship showed the people's hatred of feudal exploitation. Another example is Six Happiness at the Mountain Gate, which fully reveals Lu's rebellious character through the story of Lu hitting the mountain gate after drinking in Shui Chu. Another example is the long tune of Pu Songling's autobiographical ditty "Troubled Songs" in the early Qing Dynasty, which exposed the darkness of the society at that time with the story of Zhang Hung-chien from Liaozhai, lashed corrupt officials who did all kinds of evil and praised the heroes and deeds of the peasant uprising.

Is this the first "tribute"? People fled? The qupai of "children's play" vividly reflects the miserable life of the exiled people in the early Qing Dynasty. In addition, there were many works reflecting the love theme between ordinary men and women in society at that time. This kind of works, the content is varied and quite complicated; There is praise for pure love and ridicule for feudal marriage; There are condemnation of ungrateful men and appreciation of pornography and lewdness. Among them, the works such as Suzhou Song (see the above spectrum) describing young women's pursuit of freedom of marriage are particularly typical. They reflect the new trend of thought that people hope to break through feudal customs and strive for freedom under the conditions of the growth of capitalist factors and the prosperity of urban economy.

During the Ming and Qing Dynasties, local ditties also had different artistic achievements, but generally speaking, they were good at using economic materials, inserting new materials by changing their heads, and using various melody development means such as tone sandhi (mode, mode) to create accurate and vivid artistic images. For example, the southern Jiangsu ditty "Man Jiang Hong" is composed of this basic melody repeated six times:

And each repetition, because the lyrics almost always have new requirements, so its melody always has different changes, such as the second repetition, in addition to the change of the head, its melody almost doubled, and the third repetition almost doubled:

This technique has obviously achieved good results, making every melody change meet the needs of new content and achieve the requirements of the unity of the whole song. At the same time, the ditty also uses different tunes and tonality changes to express different characters, and often uses confessions of characters in expression methods, such as a monologue in which Lu stood in front of the mountain gate at the beginning of Six Happiness at the Mountain Gate:

Through him, right? Eat fast? With what? Living Buddha? His doubts depict his rough and unrestrained character, and he can't be satisfied with a quiet and peaceful religious life. As for the act of hitting the mountain gate drunk later, it was the final result of his rebellious character development. In this process, this song successfully uses the contrast of mode and color, and inserts a Jiangnan folk song with feather mode sung by a wine seller:

Its addition really makes the whole song more vivid and makes an image of selling wine appear vividly in front of the audience. Moreover, with the development of the story, this song also uses the expression technique of natural tone sandhi, such as Lu Zhong's greeting? The liquor seller is coming? At that time, the tune had been transferred to the subordinate tune, and this change of tonality obviously helped to show the further maturity of his rebellious character. In addition, this song, like ditties in some places, is also good at using syncopation rhythm and melody development techniques to make the melody ups and downs and twists and turns, resulting in its tortuous, slender and complicated artistic characteristics.