Miscellaneous Songs of Chinese Opera

Wuxi commentary, Zhaohsing Lotus Flower Drops, Jin song, praise song, Xiang song, Jiangxi Lotus Flower Drops, Teochew song, Cantonese song, Longboat song, zero zero drop, Taiwan boy song, Guangdong fishing song and so on. They are also known as local ditties. The source of the first is in the local cultural soil of the native song, the second is imported from abroad but through the fusion of local culture evolved into the local song, with local musical characteristics.

The various types of local songs are not only numerous, but also cover a wide range of areas, and have been passed down in their original form. They can be roughly categorized into two systems, namely, time-keyed songs and folk songs. They can be roughly divided into two systems: time-tune songs and folk songs, such as Beijing time-tune songs, Tianjin time-tune songs, Zhejiang Shaoxing Pinghu tunes, Ningbo walking books, Jiangsu Xuan scrolls, Anhui Fengyang flower drums, Shandong Slang songs, Shaanxi, Shanxi, Inner Mongolia's Er Rantai, Guangdong Yue songs, Sichuan Nanping playing and singing, etc.; folk songs, such as Beijing 10 Buxia Lotus Flower Troubles, Hebei Cangzhou Wooden Planks, Shanxi Qinzhou three-stringed books, Wuxiang three-stringed books, Shanghai's Zishu, Jiangsu Wuxi Xiao Hot twilight, Suzhou book, Zhejiang, Shaoxing Lotus Flower Drop, Anhui door song, four sentences push the son, Fujian's country song rap, bamboo board song, Hubei's three stick drums, Sichuan's even box, the lamp, Ningxia Xiaoqu, Ningxia Qingqu, Gansu's Hezhou xianxiao, Qinghai's Xining xianxiao, and so on.

The various types of local Xiaoqu, due to the generation of different lengths of time, the degree of artistic development is not balanced, some have entered the stage of maturity and development, such as Guangdong Yuequ as a representative of the singing music has formed a multi-source and a variety of performance performance pattern; and there are varieties of music due to the emergence of a short period of time, the basic tunes of the more single, but whether it is a small song or a folk small song varieties are y rooted in the local cultural soil and has a local basic audience. However, both Xiaoqu and Folk Xiaoqu are y rooted in the local cultural soil and have a local audience, and the connection with the masses is extremely close. There are many ethnic groups in China, and the music of the fifty-five ethnic minorities has a wide variety of colorful characteristics due to their different development history, geographic environment, ethnic culture, language and sound, and folk customs. Such as the Bai Dabenqu, Tibetan Gesar Zhong, Lama Mangnai, folding Ga, Mongolia's Uligar, Hao Lai Bao, Uyghur Manchu Dastan, Kushak, Lai Paier, Kazakh Kesa, Ayites, Korean Pansuo Wrapped, Zhuang's Mulun, Singing Division, Buya, Herzhe's Imakan, the Dong's Jun Pipa, the Hmong's Ga Baifu, Guo Ha, Dai's Gan Ha Gan Pai, Yi's Kasu, and so on. Among the many types of songs, some have a long history and have ancient traditions; some are influenced by the Han or other nationalities and gradually developed.

The music of minority groups has a strong local color and mass and ethnicity. Many of them are raps about the historical stories of their own ethnic groups, and their lyrics are often epic, with strong chanting, distinctive and smooth rhythm, and with a simple back to the truth of the gravity of the color and magnificent style; some of them originate from the folk rituals and activities of witches, and are closely related to the local beliefs and folklore, with strong melodic music, melodic, and often sung in the form of singing while dancing or singing while playing; and some of them are also performed while singing, dancing and playing; and some of them are also performed while singing. Playing side performance; there are also some kinds of singing folk stories, myths and legends, most of the tunes from the development of folk songs, these kinds of songs are more lyrical, beautiful, subtle and emotional; there are also some kinds of singing for the improvisation of the lyrics of the praise, praise and so on, the tunes are fluent, lively, and some of them are rich in a sense of humor, which is very popular among the masses of this ethnic group. Miao is a people who can sing and dance well, in the long history of the long river, created a glorious national culture, Miao music and art is like a flashing pearl in the sea of Miao culture shining brightly. The Hmong folk songs have been identified as four kinds: Rangx ghenx, Bad lax bat, kuangd lolndrual and Lol luas.

Ran Geng, one of the Hmong song types, which was developed with the development of Hmong lusheng formation, meaning lusheng words. According to the relevant historical records and Miao oral materials, in the latter part of the Tang Dynasty more than 1,000 years ago has been initially formed, Ran more commonly used in funeral rituals and festivals, through more than 1,000 years of use of the practice of the formation of the Ran more of the "rituals", "lyric", "narrative" of the three parts of the tune, and the form of its performance in the form of blowing and not say, and blowing and saying and blowing and singing in the three forms to show. It is mainly popular in the Sichuan-Sichuan, Guizhou-West, Yunnan-East, Yunnan-South, Yunnan-North-East, Guangxi-West, Vietnam, Laos, Thailand, the United States, France and other countries and regions in the Sichuan-Guizhou-Tianyen dialect area of the Hmong language. The main repertoire consists of 360 songs, such as "Guiding Tune" and "Broken Breath Tune", and "Song of the Origin of the Huashan Festival", "Open Heaven and Split the Earth", and "Nine Suns and Eight Moons", etc. The song has a long history and has been popularized in many countries.

Barabao, it is a form of rap formed with the development of Rangguang. At the end of the Ming and early Qing dynasties, a large number of Miao people moved into Yunnan, Barabar this form of music and art also came with the history of about 600 years ago. Barabar generally appears in the funeral, to comfort the relatives of the deceased for the purpose. It is usually performed in the form of one question and one answer, accompanied by Lusheng. After the Third Plenary Session of the Eleventh Central Committee of the CPC, Wenshan People's Broadcasting Station organized and performed the traditional Barabar with new contents, which was broadcasted by the station and was very popular among the Hmong listeners. The main repertoire includes "Traceability of Heaven and Earth", "Speaking of Heaven and Earth", "Sheng and Drums", "Duo Zuo Learning Sheng" and so on. Bara Ba is mainly popular in Wenshan and Honghe in Yunnan Province, Qianxinan in Guizhou Province, Baise in Guangxi Province and other prefectures.

Kuang Luo grasp, the form of storytelling, are popular in the Miao Chuanqian Dian dialect area, Guizhou Miao called "Lodang" (Lol dlangb), Southeast Asia and Europe and the United States of America, the Miao called "Dangneng" (Dlaab neeg), and the Miao, "Dangneng" (Dlaab neeg), and the Miao, "Dlaab neeg" (Dlaab neeg), and the Miao, "Dlaab" (Dlaab neeg). ), Kuang Luo grasp the performance site arbitrariness is very large, regardless of the field corner, in front of the house can be performed, its repertoire of a variety of popularity, its representative repertoire are "Za Dong Pi dyeing and colorful play in the Meng Shi", "tiger father", "Yellow River tide day" and so on.

Lola is a joke. The popularity of the Hmong Luo La is widely distributed, the content of most of the production of life-oriented, good and good things and ignorant and backward things and things to praise and criticize, its repertoire, such as "father and son in a boat", "meat anvil" and so on.

The Hmong song and song type has a pivotal role in their social life, is an important part of the Hmong culture, in order to carry forward the Hmong's excellent traditional culture, but also need to be a lot of digging and organizing, to be researched.