Research On “Lian Tan” Of Beijing Opera

As a form of folk music in which traditional Chinese folk art and traditional opera coexist,the concept and characteristics of "five-tone Lian Tan" in different artistic categories are not only different in fundamental style but also related in inner charm,and it has not been paid much attention by the academic circle because of its comprehensive blending technique form and the ambiguity of folk concept.The author focuses on exploring the performance form of Peking Opera "Lian Tan",which mainly includes three aspects: the historical change of the formation of Quyi and opera "Lian tan",the music art of Shanghai style Peking Opera "Lian Tan",and the inheritance phenomenon of the current Peking Opera art "Lian tan".With the "joint ballad" in Peking Opera art as the core,this paper discusses how the "joint ballad" in opera art is borrowed from the folk art,transformed and formed.It also takes the "Shanghai Style Peking Opera" as an example to discuss the artistic characteristics of the "joint ballad" in Shanghai style Peking Opera from the analysis of the specific musical form and the composing mode of the phrases and sentences.To observe the application,creation and inheritance process of "joint bomb" in the stage of today’s Peking Opera.In the first chapter,the evolution process of the title of "joint balling" in Quyi and opera is reviewed.The author does not look at the historical process of Quyi and opera at that time based on the concept of current Quyi and opera,but looks for the root of the existence of such a skill as "joint balling" along with the historical state of the integration of various arts such as Quyi,opera and acrobatics.It is believed that the mixed form of "joint projectile" is closely related to the symbiosis of folk art,opera and acrobatic art in traditional society.The second chapter explains and analyzes the concept and musical form of Peking Opera couplets in and out of the industry in the existing old records and audio systems and in the memory of old artists.The conclusion is that conceptually,the narrow sense of couplets in the line is the performance form of duet singing and joint singing.In addition to the Peking Opera singing system,other time-key ditties and tunes have been absorbed into the fixed tune type of Xipi Erhuang for a long time to form the improved tune joint bomb and form a musical style with certain characteristics.Conceptively,the broad sense of joint bomb is a broad concept gradually recognized by the outside world after the narrow sense joint bomb has formed certain musical characteristics for the audience and academia of Peking Opera.Its performance is not limited to the number of people.It is often characterized by the combination of Peking Opera,seasonal ditties and other voice and repertoire singing,and the five voices combine to play various tunes.Later,it gradually evolved into an open form and spirit of southern Peking Opera centered in Shanghai,which constantly radiates to the surrounding operas and draws nourishment from other operas and folk art.At the same time,combined with the literature and field interviews,the causes of the performance form and musical characteristics of "Joint bombing" are related to the commercial and market-oriented production mode of Peking Opera outside Shanghai,the stage environment where multiple operas blend,and the dramatic plot driving force of Shanghai Peking Opera dominated by the internal stories.The third chapter,divided into two sections: traditional opera and modern opera,discusses the problems encountered in the inheritance of the form of "joint bomb" in the historical process,also discusses the concept of the current private troupes and national troupes on the music form of "joint bomb",and discusses the artistic value of this special music or performance form of "joint bomb" from the perspective of the audience through field research.