The Study On Aria Art Of Mei School Of Beijing Opera

The paper seclected the aria of Mei School of Beijing Opera as the subject, and the research foucsed on the history, the characteristics, and the succession of the aria art. The research aims at uncovering the law of the prosperity of the Chinese opera School and the law of decline of the Chinese opera School through the case study. The research also try to offer a referential perspective to revitalize the run-down of the Chinese opera School.The content of the Chapter One is about the aria's history of the Mei School of Beijing opera. On the basis of analyzing the large quantity aria of Mei Ian-fang, divide the Mei's aria history into four stages. The fist is the inheritage stage (before 1914). The second is the preliminary new aria composing stage (between 1914 to 1924). The third is the stage of great revolution of aria (between 1925-1930). The four is the returning to the traditional aria stage (between 1931 -1961).The Chapter Two is a research on the Mei school's aria. Based on the level structure theory of Chinese traditional music, the writer analyzed the characteristics of the Qiangyin, Qiangyinlie and Qiangyun of Mei Ian-fang's Xipi, Erhuang and Fanerhuang aria. When it was necessary , the aria of the Cheng School was studied in order to draw compares.The Chapter Three is the study of the characteristics of Mei school's aria based on the chapter two. Firstly, Mei School's aria has the unique harmony aesthetic; Secondly, The Mei School aria has the unique morphology, and this conlude the four special tune; Thirdly, the aria's company has its unique simple style, and the aria and the company become a undivided whole. Lastly, Mei school's aria has the elegance, generous and bright style.The Chapter Four is a research on succession of Mei Ian-fang's aria. There are three succession forms. The first is to keep the Mei Ian-fang's aria unchanged. The second form is some ingredient of aria was changed. The third is the ingredient of aria was used by some other music forms. In all the three forms, Mei Ian-fang's aria was inherited passively, and Mei Ian-fang's aria has not been developed. With the first succession form, there are only small part of Mei Ian-fang's aria has been inherited.From the research we got a inspiration. It is that Chinese Opera School is the outcome of the synthetic and unified music creation form. But today's multi-originator run counter to the unified music creation, and this is an obstacle to Chinese opera school's development. In order to retrieve the decreasing fate of Chinese opera shool, we must carry on the mechanism of unified music creation.