1, Shaanxi storytelling solo can be performed in fields, fields, courtyards and kangtou, so it shows the characteristics of flexibility;
2. The mode and dial of storytelling music in northern Shaanxi are not as complicated and gorgeous as some music, but show a special beauty of simplicity and simplicity, thus forming the characteristics of simple mode and dial;
3. The storytelling language in northern Shaanxi is refined and the rap is funny, which forms the characteristics of funny and exciting writing;
4. There are many local music such as storytelling styles and tracks in northern Shaanxi, which widely absorbs sister art music such as folk songs and opera tunes, so it has the characteristics of diversity in the formation of tracks;
5. The storytelling in northern Shaanxi adopts the methods of imitating sound, expressing emotion and writing things to the objective people and things in production and life, so it has the simulation characteristics of performing arts;
6. The language of storytelling in northern Shaanxi is popular, localized, rich in flavor, easy to understand, easy to spread and deeply loved by the masses.
7. Traditional books are often accompanied by ethnic activities, which have the meanings of "returning books", "celebrating books", "temple fair books" and "seeking children's sacred books", forming a dependent feature on folk customs. Yulin ditty is a unique folk music in northern Shaanxi, and its characteristics are as follows:
1, introduced into northern Shaanxi from the south, combined with folk music in northern Shaanxi, is the product of cultural exchange and integration of northern and southern folk music.
2. The musical style of ditty is euphemistic and touching, high and passionate, and the southern rhyme and northern sound are integrated.
3. Singing in a small voice, combining true and false sounds, breaking with pause sounds, forming a unique singing method and producing a uniform and lively singing effect.
4. Instrumental accompaniment is mainly plucked, supplemented by stringed instruments such as Jinghu and Erhu, highlighting the uniform and bouncing performance effect.
5. Rich repertoire and complete routines have formed their own vocal music system.
6. Xiaoqu is a unique citizen class art in northern Shaanxi, which appeals to both refined and popular tastes. It is not only entertaining itself, but also closely related to folk activities (weddings, funerals and celebrations, birthdays, birthdays), which is a concentrated expression of Yulin folk customs. 1, traditional script content features:
(1) Explore philosophical issues such as heaven and earth, men and women.
Most of the characters in the play come from religious classics, Buddhism and Taoism, not Confucianism.
The framework of the script is original, and most of the details are modified by folk artists according to their own experiences.
2. Take Taoism as the main content.
3. Language features: literati have few elegant rhymes and many folk sayings.
4. Performance style: There are many banter elements.
Music is not so much happiness as pain. Hu Mei music consists of three parts: aria, gongs and drums and qupai. The aria is composed of Qupai, with more than 200 tunes, which are divided into two categories: transverse chord (major) and flat chord (minor). The moon string is ancient, complex in structure, changeable in melody, wide in range, euphemistically drawling, and difficult to sing. The three-stringed key is "1-5- 1", and the main key is [Yuediao] [Hougong] [Manjianghong] [Mixed Dragon Commander] [Border Pass] [Parasitic Grass] [Old Dragon]. Pingxian is mostly folk songs, with regular and short structure, smooth melody, little change and narrow range. The three strings are "5-6-3" and the tune is "Flying a kite", "Ten pairs of flowers", "Ten lamps", "Ten glasses of wine", "Twelve flowers", "Picking flowers", "Cutting window flowers", "Camellia", "A little oil" and "Playing jujube sticks". In addition, there are some dramatic and ever-changing vocals, such as "slow narration", "help tune" and "falling off". Free rhythm and strong intonation, such as rolling white, talking about love, arrow board, belt board and singing field similar to Qin opera. Hu Mei's songs can be divided into happy sounds and bitter sounds, such as happy [hard sound] and bitter [soft sound], tight and slow, such as [tight Xijing] [slow Xijing], and positive and negative, with different sizes, such as [money] [anti-money] [bleak] [little bleak]. Some tunes are different, old and new, head and tail are different, and the singing is rich and colorful.
Before the 1950s, eyebrows were all sung by actors. When playing male roles, they sing with their own voices, and when playing female roles, they use a combination of true and false voices. It has a wide range. Generally, the actor is F-F2 and the actress is A-A2. There are many modes of the brow scale, and the same tune has different modes. The seven-tone homophonic scale is 567 123↑45, and the bitter scale is 56 ↓ 712345; Yin Huan's pentatonic scale is 56 1235, and there are very few modes of harmony. At the end of the divertimento or solo tunes, gong mode is mostly adopted, and its scale is 123 ↑ 45 ↓ 7 1. Followed by demand, feathers, and business models. The pitch and vagrancy of ↑4 and ↓7 in the scale are basically the same as those of Shaanxi Opera.
Hu Mei's singing band consists of six people, including Sanxian, Banhu (tandem), Di, Shui (fourth sound) and Siwa. For the increase and change of musical instruments, see the related musical instruments such as predecessors and works.
Hu Mei has only string qupai, but no suona qupai. String tunes are divided into pure instrumental music, including more than 20 songs, such as Drum Wild Tune, Eight Dishes, Liu Shengya, Sacrificing Spirit, Killing da ji, Phoenix Three Nods, Four Feet Tune, Shamao Wing and Cutting Leek, as well as vocal brand instrumental music tunes, such as Xijing Brand, Chiyoyo and Yinnius. And the door in the middle of the aria. The first two are mainly used for raising accounts, hosting banquets, offering sacrifices, welcoming guests and other performances and coordinating the dialogue between voices. The latter is often used as a prelude to render the atmosphere and cooperate with the performance. (For the above contents, please see Shaanxi Culture and Art Archives 3 10-3 1 1 page. ) Hancheng Yangko has a unique performance form, which is unique and unique.
First, there are fixed performances. From the performance form, the characteristics of Hancheng Yangko are very remarkable. People in northern Shaanxi say "dancing yangko", Chang 'an people call it "dancing yangko" and Hancheng people call it "singing yangko", which exactly shows the artistic characteristics of Hancheng yangko, including singing, speaking, expressing and dancing, and embodies the embryonic form and development trend of traditional Chinese opera. Hancheng Yangko is performed by two or three people, and there are also four people, but most of them are two people, so it is called "opposite play" and "Yangko opera". Characters generally call clowns "buffoons" and "Bao tou", and some distinguish between male and female roles, as well as names-based roles in modern operas. Hancheng yangko generally follows the procedure of opening-drama-exit. The opening part has several levels. First, the clown went to the stage to "worship the field", that is, sang a "four or six songs" to show modesty; "Worship" is over, that is, the watch, that is, the clown said the watch, or the traditional joke or improvisation; It means "please play", that is, the clown invited Baotou to play, and Baotou sang "Open the Door" to play; Next is "counting flowers", that is, the clown said the table number and said (praise or derogate) Baotou; After counting the flowers, it is "pushing", that is, the clown sings "Liu Siqu" to show concession, and Baotou sings "Liu Siqu Kai" to show acceptance. At this point, the opening part is over. Qu Zheng is the core part of Yangko, usually performed by clowns and Baotou in the form of duet. At the exit is the end of a yangko, and Baotou and the clown sing "four or six songs" to show their modesty. For example, "a fan with seven sticks of firewood, a kite turns over and rolls down, and we are not the hands that bind firewood. Please be a master in the backcourt." This group of artists stepped down and the next group of artists came on stage. Baotou of Hancheng Yangko is characterized by demon, cleverness, beauty and charm, and its movements are charming and graceful; Clowns are good at being vigorous and brave, stamping their feet and kicking their legs, and walking smartly. They are both rigid and flexible, with strong contrast, changeable dance styles, distinct levels, warm but not chaotic, and uneven delicacy.
Secondly, vocal music is rich in tunes. More than 100 tunes of Hancheng Yangko are beautiful, varied and diverse in style. Among them, there are not only the narrative style of rap, but also the single music in the form of folk songs, as well as the music structure of traditional opera. Hancheng yangko not only repeats, but also emphasizes "expression". This expression factor also permeates into the tune, forming the characteristics of combining rap and singing, and the singing of Hancheng Yangko also uses dialect interlining, interlining and interlining to enhance its expressive force, which also forms the unique musical characteristics of Hancheng Yangko.
Third, the costume is simple and light. During the performance, the clown painted a white nose, dressed in casual clothes, wore a pleated skirt around his waist, wore a straw hat ring, and held a flower fan or a tobacco pouch in his hand. Make-up on the corner, thrush on the sideburns, wear red coat and green trousers, and hold a flower fan or handkerchief. The ingenious use of props has formed a major feature of Hancheng Yangko. As the saying goes: "A fan can fan the wind, cover your face, convey your feelings and use it skillfully. It has an unusual temperament. A pipe can be used as a flute or a whip. It can be used as various weapons, sticks, crutches and umbrellas. " Shaanxi Opera, also known as Luantan, originated from the western Shaanxi Opera and is popular in Shaanxi, Gansu, Qinghai, Ningxia, Xinjiang and other places in northwest China. Because it uses jujube bangzi as a percussion instrument, it is also called "Bangzi Opera", commonly known as "Bangzi". In the late Ming Dynasty, an anonymous legend of "Lotus in a Bowl" used the qupai of "Two Criminals in Western Qin Opera", so it was known that it originated in Gansu. Gansu was called Xiqin in ancient times, hence the name. When Kangxi was in the Qing Dynasty, Justin Cheung, a native of Jingyang, Shaanxi Province, looked forward to writing On Shaanxi Opera, which showed that Shaanxi Opera had developed to a mature stage. During the Qianlong period, Wei Changsheng went to Beijing to perform Shaanxi Opera, which caused a sensation in Beijing. It has a direct influence on the formation of Bangzi acoustic cavity in various places.
Shaanxi opera is a plate variant, which can be divided into two kinds: joyful sound and bitter sound. The former is good at expressing cheerful and joyful emotions. The latter is good at expressing grief and sadness. Choose to use it according to the plot and the needs of the characters in the play. There are flexible boards, 26, substitute boards, lifting boards, sharp boards, rolling boards, flower cavities and dragging cavities, which are particularly distinctive. The main musical instrument is banhu, with sharp and crisp pronunciation.
The performance of Shaanxi Opera is simple, rough, delicate and profound, touching and full of exaggeration. There is a 13 school in the football lottery, which is divided into four students, six Dan, two clean and one ugly, also called "Thirteen Nets". It plays well and sings well. After the Revolution of 1911, Yi Sushe was founded in Xi 'an, specializing in Shaanxi Opera, determined to reform, and absorbed the nutrition of Peking Opera and other operas. His singing changed from high-pitched and passionate to soft and beautiful, which not only retained the original style, but also incorporated new styles.
Because of its different popular areas, Shaanxi Opera has evolved into different schools: Donglu Shaanxi Opera (also known as Tongzhou Tiezi, also known as Old Shaanxi Opera and Donglu Bangzi) is popular in Dali and Pucheng in Weinan area in the east of Guanzhong; Popular in Fengxiang, Qishan, Longxian and Tianshui areas in the west of Guanzhong, it is called West Road Qinqiang (also known as Xifu Qinqiang and West Road Bangzi); Popular in Yangxian, Chenggu, Hanzhong and Mianxian in Hanzhong area (actually Lu Nan Shaanxi Opera, also known as Diao Han Shaanxi Opera and Xunxi); Popular in Xi 'an, it's called Zhonglu Qinqiang (that is, Xi 'an's random play). Among them, the west road became a bangzi after entering Sichuan; East Road is Shanxi Opera, Henan Opera and Hebei Opera. Therefore, Shaanxi Opera can be regarded as the originator of Beijing Opera, Henan Opera, Shanxi Opera and Hebei Opera. Influenced by local dialects and folk music, each Shaanxi opera is slightly different in pronunciation, aria and music. In the past 50 years, the development of the eastern, western and southern Shaanxi operas tends to stagnate and tends to be replaced by the central Shaanxi opera.
According to the current statistics, there are about 3,000 repertoires performed by Shaanxi Opera, most of which are based on the legend of heroes's or tragic stories, as well as myths, folk stories and various case-solving dramas from Three Kingdoms, Yang Jiajiang and Shuoyue. Its traditional repertoire is rich, with 2748 copies.
In addition to Wei Changsheng, a famous northern and southern scholar in Qing Dynasty, there are Wang Xiangyun, Chen Jibi and Shen Xianglin from Weinan School, Luan Xiaohui from Tongzhou School, Tao Suoer from Zhouzhi School and Yue Sezi from Chang 'an School. In the middle and late Guangxu period, there were Runrunzi, Yu Xier, Chen, Zhao Jiemin, Li (Hong) and Liu (Carpenter Hong). Since the Revolution of 1911, there have been the famous ugly Ma Pingmin, the famous young student Su Zhemin He, the famous Su Zhen (neck and neck), Wang Tianmin (known as "Mei Lanfang in the northwest"), Li Zhengmin (known as "authentic Shaanxi opera"), He Zhong Zhen and Song Shanghua. Tian Denian, a famous online school, and famous students He, Geng Shanmin, Zhong, etc. In particular, Chen,,,, and Li Yisheng and Su Zhemin, former editors of Sanyi Society, have made innovations in singing, performance and makeup modeling.