Beijing Opera Music Of Sadness

The research interests of my thesis,"Aesthetic Issues In Traditional Chinese Music"is a new academic field which integrates both traditional music ideology and typology research in the subject of traditional Chinese culture.Even though it seems those two research fields never join together as two parallel lines according to the current findings, there must be a connection between them if you see the whole picture in the perspective of traditional Chinese culture. Following the innovative idea, I took Peking opera music as the research subject, mainly focusing on the tragical arias, referring to the aesthetic concept,"tragic is beautiful", in the traditional Chinese music and opera. Then I tried to summarize the aesthetic characteristics of the "tragicalness" on the basis of Peking opera music, ultimately, explored the traditional cultural origin of "tragicalness" in the ancient philosophy. Meanwhile, I hope my research can make further efforts on the study for aesthetic characteristics of "tragicalness" in Chinese opera.The thesis is divided into introduction, main body and conclusion. In the introduction, it shows the research interests and subject, current findings, the methodology, as well as the definition of the "tragicalness" and other relative concepts. In the main body, the first chapter is primarily used to discover the connection between the tragics and beautifulness from a broad historical perspective, and then concludes the aesthetic categories, namely,"tragic grudge","tragic bitter","tragic indignation", and "tragic solemnness",The second chapter includes four sections in which I extracted four kinds of aesthetic style respectively," elegant and implicit","profound and blooming","delightful and exciting","heroic and glorious"And the last chapter, in the traditional cultural and historical perspective, reveals three prominent aesthetic characteristics of "tragicalness" in Peking opera:inwardness and breakthrough, rich in connotation while simple in manifestation, art of emotion and sign of life. In the part of conclusion, with all the discoveries of the research, I strived to demonstrated that the Chinese opera has no lack of "tragicalness", no matter in the music ideology or typology, furthermore, it is different from the western tragedy, unique in aesthetic characteristics and the cultural connotation which should be inherited and carried forward in the creation of modern Peking opera.