And the comedy industry "love-hate" Jingyun drums, listening to comedy necessary common sense?

The belly of the comedian is a grocery store. Traditional comedy to know a lot of things, GuanKou, open the door Liu'er, timid mouth and even dark spring, there are some "learning" things are different from person to person to learn, such as learning opera, learning to evaluate the opera, there is a learning drums, you can learn to learn the drums in the plum blossom drums, the iron piece of the drums, the West River drums, the Northeast drums, the Tangshan drums, the funny drums, as well as the Beijing Rhythm Drums, which we will talk about today. Beijing Rhythmic Drums, which is what we are talking about today.

I. The Production of Jingyun Drums

Jingyun Drums, as its name implies, refers to the drums of the Beijing rhyme scheme, but like many drums, it is not an art originating in Beijing, but rather comes from Hebei, specifically from the woodblock drums of the Cangzhou and Hetao areas of Hebei. It's important to note, however, that while the woodblock drum evolved into the Jingyun drum in Beijing, the woodblock drum itself still exists.

Before the art of jingyun dagong was officially named, it was known by many names, such as "xiaokou dagong" (small mouth drum) and "pingyun dagong" (flat rhyme drum) in Beijing, and "weitong dagong" (Wei tune drum) and "wenwu dagong" (wenwu drum) in Tianjin. ", "Wenwu Drum", etc., and the earliest common name of Jingyun Drum is "Fearful Drum", from the name we know that there is an accent in it, and in the "Fearful Drum" era there were already a few people who had a good reputation for their work.

There are several famous artists in the era of "timid drum", namely Jin Degui, Hu Jintang, Huo Mingliang and Song Yukun.

Because of the accent problem, the drums were generally popular in Beijing, and could only be performed at temple fairs and other places, so the artists gradually changed their singing accents by combining them with the Jingyin and Jingyun rhythms, and at the same time, they changed the long titles into short, small choruses, and added the sanxian string to the accompanying instruments, which formed the final Jingyin and Jingyun drums.

In 1946, the Beijing Opera Guild was established to formalize the name "Jingyun Dagu".

The most common musical instruments used in the performance of Jingyun Daji include the book drum, rattles, three strings, the four-stringed hu, and the pipa. We often hear soundtracks with pipa, drums and sanxian in various Republic of China TV dramas and documentaries, which are usually preludes to Jingyun drums.

Second, the schools of Jingyun Drums and its heirs

When listening to the comedian "Learning Drums", we often hear some sayings about the schools of Jingyun Drums. Generally speaking, Jingyun Drums can be categorized into five schools according to their singing styles, which are the Liu School, the Bai School, the Zhang School, the Shao Bai School, and the Locke School. The earliest popular ones are the famous "Liu, Bai and Zhang" schools, while the "Shao Bai" and "Luo" schools were developed on the basis of their predecessors.

1, Liu School Liu Baoquan

Liu School of Jingyun Drums, the founder of Liu Baoquan (1869-1942), a native of Shenxian, Hebei Province, whose status in the Jingyun Drums line is comparable to that of Zhu Shaowen in the comic line, and who possesses a high degree of prestige. Liu Baoquan studied the timid drums since he was a young boy, and studied under Song Yukun, Hu Jintang and Huo Mingliang, who were all timid drummers, so he could be said to have collected the strengths of each family. Later, under the guidance of Beijing Opera master Tan Xinpei, Liu Baoquan borrowed the singing flavor of famous Beijing Opera masters such as Gong Yunfu, and gradually formed the characteristics of Liu's Jingyun Drum.

The Liu School's singing voice is characterized simply by a high and bright voice, with a grandiose momentum and a combination of rigidity and flexibility. His singing of the Three Kingdoms, such as "The Meeting of the Single Dagger", "The Battle of Changsha", and the lyrical piece "The Great Western Chamber" are all famous masterpieces of the Liu School.

With the efforts of Liu Baoquan, the Jingyun drums quickly became the mainstay of the juggling scene in Beijing and Tianjin, and he became known as the "King of Drums".

The legacy of Liu's Jingyun Drums is relatively good, with famous inheritors such as Xiaoyingxia and Sun Shuyun, as well as the founder of the Shaobai School, Bai Fengming, who was also Liu Baoquan's apprentice, and the founder of the Luo School, Luo Yusheng, who was once a personal friend of Liu Baoquan.

2. Bai Yunpeng of the Bai School

Born in Baxian County, Hebei Province, Bai Yunpeng (1874-1952) and Liu Baoquan were contemporaries of the same generation. He was born under the Blue Banner, and in his early years, he learned how to sing the Xiehe drums, then switched to the wooden drums, and then, at the age of 26, went to Beijing to sell his art and gradually switched from timid to Peking rhythmic drums.

Bai Yunpeng was in his thirties when he created the "Bai School of Beijing Rhythmic Drums" based on the characteristics of his own voice. The characteristics of the Bai School of Beijing Rhythmic Drums are simple: compared to the Liu School, it is more euphemistic, with a clear spitting, word-by-word, half-chanting, half-singing, and a richly varied singing style with a strong artistic impact.

White School Jingyun Drum's famous singing such as "Daiyu burning manuscripts", "Tang Qingwen" and so on are enduring repertoire, and its inheritors are also more, such as Yan Qiuxia, Zhao Xueyi, etc., and Guo's wife, Wang Hui, is also a White School Jingyun Drums heirloom, which is equivalent to the apprentice-great-grandson generation of Bai Yunpeng.

3. Zhang Xiaoxuan of the Zhang School

Also known as Zhang Xiaoxuan, he was born in Beijing (1876-1945) and was a famous Jingyun drummer contemporary of Liu Baoquan and Bai Yunpeng.

Zhang Xiaoxuan started out singing time tunes and Peking Opera, but later switched to woodblock drums, and was also famous for singing Three Kingdoms repertoire, such as "The Poe of Beowang" and "The Road of Huarong".

Zhang Xiaoxuan has a big body and a broad voice, so he sings in a high voice, and his performances are very powerful and enjoyable for the audience.

The Zhang School of Jingyun Drums was mainly passed down in Tianjin and the Northeast, but with the deaths of Zhang Xiaoxuan and his disciples, the Zhang School of Jingyun Drums was lost, and now there are no heirs.

4. Bai Fengming Bai Fengyan of the Shao Bai School

Bai Fengming is not related to Bai Yunpeng, and the name of the Shao Bai School is used to distinguish it from Bai Yunpeng's Bai School.

Bai Fengming (1909-1980) was a disciple of Liu Baoquan, and his brother Bai Fengyan was Liu Baoquan's string master. Sensing Liu Baoquan's popularity, Bai Fengyan parted ways with Liu Baoquan and composed for three years and then taught his brother, eventually forming the Shao Bai School of Jingyun drums, whose founders were the Bai Fengyan and Bai Fengming brothers.

The Shao Bai school of singing absorbed the characteristics of the Liu school and the Bai school of Jingyun drums, combined with Bai Feng Ming's voice, and also incorporated some of the Peking Opera Yu school and other people's art, so the formation of the Shao Bai school of Jingyun drums quickly became popular, and in Shanghai, Wuhan, and Nanjing and other places have achieved a fairly good reputation.

The singing voice of the Shao Bai School of Peking Opera is simply more gentle, mellow, elegant and suave, and Bai Fengyan also created some new repertoire for his younger brother, such as "Beat the Drums and Curse Cao" and "Luo Cheng Calls for Guan".

After the liberation, Bai Fengming became the head of the Central Radio Rap Troupe, but the art of the Shaobai school was in danger of being lost after his death, and now there are very few authentic Shaobai artists, and more or less all the artists of other schools can still sing some of the classic Shaobai repertoire.

5. Luo Yusheng of the Luo School

The artist's stage name was Xiao Caimai (小彩舞). Luo Yusheng (1914-2002) was born in Jiangnan and was given to Luo Caiwu (骆彩武) as an adoptive daughter at the age of six months, and so she was given the artist's stage name Xiao Caimai (小彩舞).

Locke Yusheng grew up at a time of social enlightenment, and at the same time the Liu, Bai, and Zhang schools of Jingyun drumming were in full bloom, so the number of women singing Jingyun drumming began to increase, and Locke Yusheng was one of the leading performers.

Locke Yusheng studied Peking Opera in her early years, then switched to Peking Rhythm and Drums, learning from Liu Baoquan, as well as from Bai Yunpeng and Bai Fengming, and eventually forming her own "Locke School".

Locke Yusheng's singing voice has a wide range of tones, rich flavor, lyricism and excitement are good at, Locke School's masterpieces include "Ziqi listening to the Qin", "Jiange wenling", and other famous pieces, especially in the 1980s Locke Yusheng was invited to sing the theme song for the TV series "The Four Generations of the Same Family" "reorganization of the river mountain to wait for the future generations", which has become a classic of the immortality.

Locke Yusheng is a representative of the Jingyun drum in modern times, and she herself has served as the president of the Chinese Opera Association. The inheritors of the Luo School are mainly Liu Chunai and others.

Third, other drums and representative characters

We often hear a variety of learning drums when listening to comedy, but not all of them are Jingyun drums, common drums and representative characters are:

Northeast drums: mainly in the northeast of the popularity of the representative characters such as Liu Lanfang, who changed the commentary, and so on.

The Iron Piece Drum: also known as the Vinegar Piece Drum, the founder is Wang Peichen, more popular in Tianjin, characterized by the hand holding a copper piece, representative of Wang Peichen and Yao Xuefen mainly.

Beijing East Drum: originated in the area of Sanhe, east of Beijing, also known as Big Drum Book, and its representatives are Dong Xiangkun and others. The words "the red sun has just come out of the mountains" are sung by Dong Xiangkun and others.

West River Drums: West River Drums are related to Beijing Rhythm Drums, and their origin is also Hetian, Hebei Province, which is also developed by Wooden Drums. There are more representatives of the Xi River Drum, as the white part of its drum was later developed into a form of commentary, such as Shan Tianfang, Tian Lianyuan, Jin Wensheng, Guo Degang and others are the inheritors of the Xi River Drum.

Funny Drums: Originated in Beijing, it belongs to the branch of Jingyun Drums, which is equivalent to the performance form formed by extracting the more funny and comical repertoire from Jingyun Drums. Its representative characters are Ye Delin (frame winter melon), Zhang Wenshun, Mo Qi and so on.

Plum Blossom Drum: This has a long history, originating from Beijing's Qingkou Drum. Its representatives are numerous, and the genres alone include Jin, Hua, Lu and Bai schools, represented by the famous Jin Wanchang, Hua Sibao, Hua Wubao and others.

Four, the love-hate relationship between Jingyun drums and the comedy industry

Jingyun drums and the comedy line have always had a close relationship, which has cooperation and competition.

Comic actors often learn Jingyun drums in some of their segments, such as Wei Wenhua's "Learning Drums," which features Liu Pai, Bai Pai, and Luo Pai's three singing styles. Hou Baolin's "Change of Career" takes Liu Baoquan and Liu Pai singing as the key learning content.

Liu Baoquan and Li Dejiao used to share the same stage together, and Bai Yunpeng also shared the same stage with Hou Baolin and Dai Shaofu. When Dai Shaofu was beaten by Yuan Wenhui's henchmen, Bai Yunpeng, who was past the age of old, tried to protect Dai Shaofu with his body.

Bai Fengming was once the head of the Central Radio Rap Troupe, and Hou Baolin, Liu Baorui, Guo Qiru, Guo Quanbao and Ma Ji and Tang Jiezhong were among his key subordinates.

Locke Yusheng's friendship with Ma Sanli extended over decades, and she also nudged Wei Wenhua and other comedians who were known for their willow work. As president of the Qu Association, she even led the comedy scene directly.

Where there is cooperation, there is competition, and the jingyun daji and xiangsheng industries have had their share of rivalries.

The most famous of these is the dispute over saving the bottom. In the 1930s vaudeville gardens, Jingyun drums have always been the iron axle, Liu Baoquan, Bai Yunpeng, Lin Hongyu and Luo Yusheng are the bottom of the garden savings, the comedian is more famous and more capable can only be in the finale of the show, and the income is also a few times worse.

Li Dejiu, Zhang Shoushen and Dai Shaofu had successively saved the bottom, but all of them are Jingyun drum actors temporarily can not go on the stage on behalf of the bottom of the savings, the income is still the income of the finale. It was not until Hou Baolin that the first reversal of the Jingyun drum was accomplished, and he replaced the aging Lin Hongyu as the bottom of the savings by virtue of his own fame and ability, and his income was also the standard of the bottom of the savings. Because of this, Zhang Shoushen praised Hou Baolin for making a great achievement for the comedy line.

After the liberation of the Jingyun drum artist Luo Yusheng once served as the chairman of the Association of Music and Comedy, comedians until recent years by Jiang Kun completed the industry's comeback to become the chairman of the Association of Music and Comedy.

However, the competition between the comedy industry and the Jingyun drum industry is a healthy one within the art of opera, and although Jingyun drum has declined somewhat in recent years, the comedy industry has used the form of comedy to keep Jingyun drum in the limelight.

The comedy industry has a number of performers who are masters of the Jingyun drum, such as Ma Zhiming and Wei Wenhua, while Ma's "Daiyu Burning Manuscripts" and "Exploring the Harvest Moon" are among his masterpieces of the drum. This is part of the continuity of the centuries-old friendship between the two professions.