Apollo Dionysus Background Sound,

Using the musical language of the teleplay 'Qingyi' as a research object, this study aims at exploring the effect of movie and TV music in expressing the theme connotation and portraying the character image. The study is composed of three parts - introduction, main body and conclusion.The introduction part briefly narrates the relation between movie and TV art and music symbol; the evolution, characteristic and effect of movie and TV music; the artistic style of Zhao Jiping's movie and TV music and the emotional background of his music composing of 'Qingyi'.The main body elaborates the aesthetic implication of the musical language of 'Qingyi' in four chapters. The first chapter focuses on the prototype image of 'Qingyi' (the Chang-er flies to the moon) and points out: The moon refers to a poetical while unreachable spiritual home. Chang-er implies an ivory-towered and irreconcilable soul driven by the clinging inner attitude. Qingyi symbolizes a sacred life ceremony that must be experienced in pursuing the ideal and the leading character Xiao Yanqiu fulfills her deep-rooted Chang-er complex through the Qingyi ceremony. The second chapter focuses on the style and tenor of 'Qingyi' (delicate and graceful). The delicate and gloomy characteristic of Peking opera incarnates the lingering charm of the tenor. The delicate and gloomy characteristic of the music strengthens the graceful and gloomy temperament from the inner feeling. The movie and TV music must be consistent with the theme, thought, structural form, and artistic style of the script. In the same way, the occasion and the percentage of music in the sound tape strengthen the style connotation and emotional tendency of the script. The third chapter focuses on the theme connotation (pains of life). 'Pains come from not only the loss of some values from the outside world, but also the unaffordable heaviness of life. From the body, love and spirit respectively, this chapter talks about the pains of the heaviness and lightness of life that a person has to bear. The fourth chapter focuses on the aesthetic implication of music in creating the character image. From the perspective of character creation, music shows the melody process of the sacred life ceremony of the leading character. Music creates the harmony-like complex of the leading character's love and hatred. Music that corresponds with the character dialogue strengthens the deepest and hidden self-volition of the soul obsessed in flying to the moon. Music provides the rising energy and 'coming back home' happiness for the illusion of flying to the moon in the dream.In the conclusion part, I conclude that the musical language of 'Qingyi' greatly corresponds to the inner spirit of the opera script. The narrative energy and emotional power of the music makes great contribution to the success of the opera. By the analysis of the aesthetical implication of the musical language, I point out that movie and TV music is able to show the hiberarchy of an opera theme, to further develop the opera style, and to create the integrality of a character image. The music selection of movie and TV opera should focus on the basic character of the movie and TV art, and reflect these attributes and connotation to the largest extent. The perfectness of movie and TV opera cannot be fulfilled without the adequate participation of musical language.