The History of Linhai Lyric Tunes

On the Linhai words and tunes of the historical origin and the specific formation of the era there are a variety of sayings, one said to have originated in the Southern Song Dynasty, according to the modern scholars, euphonium, Linhai former librarian Xiang Shiyuan book Linhai Cultural History records: "words and tunes began in the Southern Song Dynasty musician Zhang Anchor Haiyan cavity created by the beginning of the Yuan dynasty miscellaneous dramatist Yang Zi to collate the development of the Haiyan cavity in the mid-Ming dynasty prevails in the Jia, Wen, Taiwan, the area around the end of Ming evolved into words and tunes. In the middle of Ming Dynasty, the Haiyan accent was popular in Jia, Wen and Tai, and evolved into the lyric tune at the end of Ming Dynasty." There are also said that the word tune evolved from the kunqu, and even the word tune began in the Tang Dynasty, the word tune when it actually originated, to be examined and researched. But from a general point of view, its history can be traced back to the Ming Dynasty, mainly the local folk songs and the circulation of the Haiyan cavity here, Kunshan cavity and the formation of the fusion.

The people around Wen and Taiwan have had the custom of singing since ancient times, and the so-called "Lane Songs" mainly refer to the folk songs around Wen and Taiwan in the Song Dynasty. Southern opera "Zhang Xie Scholar" in the "Taizhou song", "East Turning Order" and other songs, is taken from the name of Taizhou, Wenzhou, the words of the popular areas, is the Kunshan cavity, Haiyan cavity prevalent in the range of Wenzhou, Taizhou, Huzhou, etc., and Haiyan, Kunshan, and the other four big Haiyan, Kunshan and the other four major voices evolved from the Southern Opera. In addition, the small tunes such as "Bean Leaf Yellow", "Zhao Leather Shoes" and "Oil Walnut" in the Southern Opera are the folk tunes popularized in the area of Taiwan and Wenzhou, and in addition, Linhai's word tunes have absorbed the Kunqu Opera and the folk tunes, and the traditional tunes of the word tunes such as "Point Jianglip", "Pink Butterfly", "Lazy Painted Eyebrows", and so on, belong to the Kunqu Opera body, whose repertoire mostly comes from the Southern Opera and the collection of Kunqu Operas compiled in the Qianlong period "Suffixed with White Jowls", while the others also come from the pop words and Bao rolls. There are also other tunes that come from the play lyrics and treasure scrolls, such as "Meeting at the Broken Bridge", "Drunken Return to the Restaurant", "Wolverine Chan Worshipping the Moon", and "Crazy Monk Sweeping the Qin". The singing and confessional language of the lyric tunes is mainly in Linhai dialect (Taizhou official language) with Su Baihua, which shows that the lyric tunes are made by combining various elements of opera and local folk tunes. In the Song Dynasty, a group of poets represented by the lyricist Chen Ke produced a number of masterpieces with beautiful lyrics, and their works were often composed into lyrics and songs by artists and widely sung, which greatly promoted the development of the art of lyrics and songs in Linhai.

In the middle of the Ming Dynasty, Haiyan accent was prevalent in Jia, Taiwan, Wen area, and at the end of the Ming Dynasty, it was combined with local folk songs, and gradually evolved into the "word tune", which was neither scripted nor on stage.

The Qing Dynasty, Taicheng Song Shulan and other more than ten people according to the characteristics of the word tune to be selected, combined with the customs of Linhai, made a partial reform, the preparation of scripts, formed a rich local style of sitting singing music, that is, Linhai word tune.

The heyday of the word tune is from the middle of the Qing Dynasty to the Republic of China. According to Xiang Shiyuan in the "Ciyuan music trivial talk" recorded: "I Taiwan music group has 'Cheng Wen', 'near the Sheng' two societies. The organization of the 'Cheng Wen Society' began in the Qing Dynasty, Xian years, with the name of the words and tunes, its learning from Tiantai, the community is more than itchy order in the people". In addition, the folk artists of the set of social organizations are; "Zhaode", "free", "wind rhyme", "Dongfeng", "Yi Feng" and so on; most of the members are literati, known as: "Long Shirt School", so "Linhai Lyrics" at that time also had a "talented son of Lyrics" elegant name.

The Linhai Lyrics was also known as "The Lyrics of the Talented Son" at that time.

Qing Daoguang fourteen years (1835), the word tune excellent artists Lin Xinpei (No. mirror heart), good degree of song, the county magistrate Hu Ji Pei away from the Taiwan, Lin Xinpei specially wrote a song "to stay to see the elegant paper" to give the line; the same period of the DongLin (ChenWei), HongZhenYu (XLin), etc. to be good at blowing and singing is famous.

During the Guangxu period of the Qing Dynasty (1875-1808), there emerged a number of artists who were good at singing and composing, such as Song Shulan, Yang Yuewu, Zhou Xinfu, Qin Yuebo, Lin Xinpei, Dong Lin, and Hong Zhenyi, etc. Among them, there were those who were proficient in zither, those who were well versed in music, and those who were fond of adapting the repertory, and the performers, Gao Xingji, and Yu Qiusheng were the most famous ones.

The late Qing Dynasty, the word tune is in a period of prosperity, members of the community up to hundreds of people, the word tune form of singing to sit and sing the main, the largest singing place is mainly composed of middle-aged and elderly people "bucket will" (also known as "bucket society"), for the sick to worship bucket life, disaster and pray for blessings, and at the same time, all over the world to worship bucket life. At the same time, there are many folk free combination of sitting and singing set, in addition to the set of social activities, members of the community every festival and holiday, but also take turns at home to do piles, piles of home only a dish of melon seeds, a few cups of fragrant tea. Some low-class laborers from poor backgrounds would also have a "chi yu xian" (Taizhou dialect, meaning optimistic even though they were poor and had nothing to lose) after work - and would follow and play with the words and tunes. This was the "short-playing school" as opposed to the "long-shirt school" of the leisure children. The "short-playing school" accelerated the development and popularization of Taizhou's lyrics and tunes.

Republic of China period, Linhai word gradually by the feudal landlord class to buy and use, to the development of high style, it is often used in the rich to celebrate the birthday, but also for the children of the family after the feast to help, festivals singing, but most of the singers only sing one or two songs, and do not take the pennies, but to be treated with a feast, reflecting their status and elegance. With twelve kinds of songs, "Great Celebration of Life" was a typical song at that time.

Before the 1930s, all the men who participated in the singing and playing activities were men. In the 23rd year of the Republic of China (1934), the Simplified Normal School of the six counties in Taiwan opened a class in Ziyang Building on Ziyang Street to study the words and absorbed a few female students such as Chiang Kwai-ching, and rehearsed plays such as "The Great Celebration of Life", "The Legend of the White Snake", "Out to Meet the Mother", and "The Marrongs Sending Their Kisses", and performed four performances at the Auditorium of the county government. County Government Auditorium for four nights. Since then, Linhai has created a precedent for women to perform on stage, playing male roles, and putting words and tunes on stage more completely.

In the 27th year of the Republic of China (1938), in order to mobilize the whole nation to fight against the Japanese, Linhai's lyrics and tunes were put on the stage for the first time.

After the founding of the People's Republic of China, the Linhai word tune had a greater development, and was put on the stage, in the 1950s, the establishment of the "Linhai Chengguan Amateur Word Tune Theater Troupe", in order to adapt to the convenience of the many teaching and singing, learning to sing, the word tune of the work of the ruler of the sheet music into a simple sheet music, and in 1959 around the time of the public performance of In 1959, the troupe performed traditional pieces such as "Meeting at the Broken Bridge", "The Crazy Monk Sweeping Qin", "Returning to the Hunting Ground", "Forcing Hugh", and "Ma Rong Sending Kisses".

Beginning in the spring of 1962, it also performed the medium-sized traditional plays "Feng Yi Ting" and "Fisherman's Delight", the traditional opera "Diao Chan Worships the Moon", "The Pairing of Classes", and the small-scale comedy "Monks and Negroes Matching", and in July of the same year, the Linhai Cultural and Educational Bureau organized a singing team of the Linhai Lyrics to attend the Zhejiang Provincial Department of Cultural Affairs of Zhejiang Province, and the public performances were held in Ningbo, where it performed three programs, including "Small Feasts", "Broken Bridges", "Worshiping the Moon", etc., in a sitting form. moon worship" and other three programs.

In 1964, the Linhai County Chengguan Town Amateur Lyrics Society successively rehearsed the big plays such as "Phoenix Pavilion", "Ma Rong Sending Kisses", "Fisherman's Joy" and a number of folded plays such as "Monks and Nuns Meeting", "Peony Pairing", etc., and created and performed a number of modern plays such as "Returning the Pig", "A Rope", "Red Butler", "Kiln Fire Returning to the Spring", etc., of which "Returning the Pig" was awarded second prize of the music of Taizhou Regional Literary and Artistic Concert.

In the 1960s and 1970s, under the influence of the Cultural Revolution, the Gang of Four promoted cultural authoritarianism, and as a product of "decadence and decadence", Linhai's lyrics and tunes were criticized and forced to stop all activities, and were on the verge of being lost, and were crushed. After the "Gang of Four" was crushed, the words and tunes were reborn.

In 1978, the Linhai County Cultural Bureau of the organization, finishing the compilation and printing of "Linhai word tune" of the traditional song a set of 29 songs.

1985, Linhai County Cultural Center once again organized, the word tune into the "Linhai folk music integration" book.

August 2000, Luo Lianxing and other people organized their own actors and actresses 35 people, set up the Linhai word tune troupe, rehearsed the folded opera "Cuffing Red", "to the class", the opera "Zhu Baichen" and other programs.

In 2004, the Linhai Lyric Tune Troupe took part in the Second Folk Drama Exhibition of Taizhou City, and "Lu Bu and Diao Cicada" won three awards, including the Silver Award, Actor Award, and Organization Award; in the same year, the Department of Culture of Zhejiang Province allocated RMB 100,000 for the Art Protection Fund, which was used to support and rescue the Linhai Lyric Tune.

In May, 2005, Linhai Yilong was listed by the People's Government of Zhejiang Province as one of the first batch of representative works of intangible cultural heritage of Zhejiang Province.

In 2008, Linhai Yilong was selected as one of the second batch of national intangible cultural heritage.