A Guban Study Of Kunqu Opera "Peony Pavilion"

From the perspective of opera in traditional music,this study selects Kunqu Opera "A Dream in the Garden" as the research object,and uses the methods of investigation and interview,literature analysis and music analysis to analyze and study the relationship between the drum plate and rhythm,the position and strength of the drum plate,and the correlation between the drum plate and Chinese rhythm and prosody.According to the study,Kunqu rhythm is a concept composed of multiple combinations,including both the melody rhythm of the singing voice and the Chinese rhythm rhythm of the singing words.Kunqu music is produced after the fusion of these rhythms and Qu styles,and the master drum of the band is the "conductor" who intuitively presents these rhythms.The drum playing practice of Sigu follows the most basic procedure of Kunqu opera,that is,the plate must be played in each bar position,and the eye position will be flexibly played according to the specific situation of the opera.The drum beat in the eye position is not fixed,but the classification and summary of the performance of these non-fixed drum beat finally concludes that the drum play is most common at the end of each bar structure and at the drawl note.There is no relation between the strength and weakness in the western music theory system.The plate does not represent the strong beat,nor does the eye represent the weak beat.The strength of the drum changes correspondingly with the melody trend of opera music,and there is no prescribed limit on its strength.The innovation of this study is to record and verify the empirical paradigm of drumboard performance orally given by Xin Shilin,director of drums of Suzhou Kunqu Theater,by means of empirical research,hoping to play a complementary role in traditional music theory and provide some reference value for traditional instrument performance.