Qudi Study Opera

Vocal music, the core of Kunqu Opera, is the basis of many academic works that aim toexplore the laws hiding the beauty and mysteries of the ancient art form comprising songs anddances. One of the most looked-into phenomena is the fact that the namely Kunquaccompaniment, especially the instruments in the accompaniment, play an important role inthe evolution of Kunqu Opera. As an inevitable result of the unique performance system andvocal laws, Kundi, a melody instrument, has become the leading instrument in Kunqu Opera.Recitals of Kundi is also referred to as “yadi”(to master the flute) or “sidi”(to manage theflute). As the leading instrument, the melodies produced by Kundi are found to be leadingalmost all singings in Kunqu Opera, which leads to “suiqiang”(that a Kunqun Opera singerhas to adjust the singing according to the accompanying music produced by Kundi).In the scope of visual iconology, bamboo flute is in itself no more than any instruments in thedepartment of music-it can be seen in ensembles and solos, considered as one of theaccompanying elements in traditional operas. However, apart from its long history (the boneflute of Jiahu is seen as the primitive form of bamboo flutes), the formation and evolution ofbamboo flutes have a critical influence on the study of tonality and temperament of traditionalChinese music. The characteristics of flutes also play a role in the formation of the singleacoustic rule and culture of Chinese music.The following conclusions are made based on studies looking into the evolution of bambooflutes as well as the history of traditional Chinese music: Bamboo flutes play a complex, yetimportant role in Chinese Opera in that no other instrument can match the influence ofbamboo flute.Bamboo flute has been the major accompaniment in art forms from the popularChangzhuan(唱赚）and Zhugong(诸宫调） to the mature Zaju(杂剧) and Nanxi(南戏) of theSong and Yuan Dynasty. Even after the degeneration of the Yuan opera in the middle of theMing Dynasty, where Nanqu(南曲), originated from Yongjia, Zhejiang Province, developeditself to Kunqu Opera with the devotions of artists such as Wei Liangfu and competed with thenation-widely popular Yiyang(弋阳腔), Kundi was closely connected to the evolution ofKunqu Opera. It can be observed that no matter how the arts change in time, Kundi neverstopped getting involved. Moreover, the evolution of Kunqu Opera was alwaysaccompanied-maybe not simultaneously-with the evolution of Kundi.The two major functions of Kundi in Kunqu Opera are as followed: assisting the practice ofsinging(traditionally referred to as Paiqu and Diaosang) in order to understand the rhythm, lyrics, breathing and tempos of the music and leading the accompaniments. Kundi is at thesame time the benchmark of the vocal music and the conductor of the accompaniments.Since the arguments concerning the dominance of Hua and Ya(花雅之争）in the Qing Dynasty,it is generally believed that emphasis on the freestyle performance in Huabu(花部乱弹）is dueto the advent of the Banqiang(板腔）operas that has prospered the tempo rules and thedramatic factors in traditional Chinese opera. However, the prosperity of Huabu doe notnecessarily mean the degeneration of Yabu(雅部). Even if it does, the cause hidden behindwould be Yabu’s insistence on choosing bamboo flute as the leading instrument. Although therenowned opera Shi Wu Guan(十五贯).aroused some appreciation of Kunqu Opera, it isarguably that Kunqu Opera has faced its recession since the end of the19th century. Many hasargued that Kunqu Opera is rising again due to the “fashionable” protections of WorldNon-materials Cultural Heritage. The fact is that the crisis of Kunqu Opera is more seriousthan ever before: the lack of influential actors in the younger generation, the out-of-tune stagesettings, the violations of traditional vocal regulations, the loss of audiences and mostimportantly, the significant changes in bamboo flute. These changes can be observed in bothforms and connotations-the traditional flute with seven holes(three of which are unchangeablein tunes) has been transformed into flute that follow equal temperaments. This means that thetraditional skills of making seven tunes on one flute will gradually fade away with the oldergeneration of musicians, causing the ceasing, or even worse, the death of Kunqu Opera.To summarize, focusing on the study of Kundi, this book discussed the development andchanges of Kundi in different time in order to identify the relationship between Kundi, vocalrules and other music instruments involved in Kunqu Opera. It is this book’s aim tounderstand the universal rules hidden behind the changeables and unchangeables of KunquOpera and analyze the culture of Kunqu, along with the traditional music in the south of theYangtze River. This book also seeks to offer resolutions to problems concerning whether ornot to preserve the originality of in protecting non-material cultural heritages such as KunquOpera.