Study On Relationship Of Creation And Performance Between Chinese Opera And Xiqu Music

The relationship between Chinese opera and Xiqu takes asignificant position in many fields, such as opera history, dramahistory, the comparative drama of Chinese and western as well asmusicology. The present study has been designed to locate therelations through the rational research on the development of Xiquand opera in china from20thcentury to21stcentury, with deepconcern about the their developing rules from the respective of dramahistory, opera history and musicology.After many years of evolution, Chinese traditional Xiqu andwestern opera are both dramatic arts which involve music, literature,arts and dancing, featuring a combination of instrumental music andvocal music in priority. But the different aesthetic habits and the wayof music creation lead to the difference of creation between thefirst-edition and the second-edition as well as the original and theformula. As a result, the motivated music creation techniques andmusic development of both Qupai linking and Banshi varieties differ alot. To recognize the distinction between the ways presenting thedistinct human characters through different ranges and tones,different professions with corresponding characters, stereo music and horizontal melody music, reality-oriented performances andvirtual ideographic ones, this thesis demonstrates that the similarityand difference provides the precondition for the collision and thefusion of the Chinese Xiqu and western opera.The New Culture Movement shook the foundation of thedeeply-rooted Chinese traditional Xiqu culture and the Xiqu reformbrought about opportunities for the birth of opera in China. The operaand Xiqu were early blended in the children musical by Li Jinhui andyangko music, in which the Xiqu music used to be made with seletedpieces of different music and composed lyrics to the given tunes, theyangko music more likely to choose MeiHu and QinQiang. The populartunes in Li’s children musicals were widely used according todifferent characters, including the foreign songs adopted by schoolsongs, traditional Xiqu tunes and pop songs. Neither was been chosenthe only way to express music, which greatly weakened theformulized tunes. Meanwhile both have been titled New Opera toreflect the social life then in a totally new music way, which was therepresentative of the Chinese opera at birth.The White-haired Girl, milestone national new opera, manifeststhe combinations of the Xiqu music formula and the opera musicoriginality as well as the Xiqu music materials and the opera thememusic creation techniques. With many times of modification duringthe creation and rehearsals, it finally broke away from the traditionalway of Xiqu and developed into the Chinese new national opera, sungin a reserved aria and bel canto enunciation from the naturally plainvocal singing. Gradually the western opera style set its place inChinese national opera under the influence of Xiqu. Since then, Xiao Er-hei Jie Hun enriched the music developing techniques of Banhsivarieties. Since then, Hong Hu Chi Wei Dui, Hong Shan Hu and JiangJie further strengthened it and presented the orientation of xiqulizedopera for Chinese national opera.Western opera, having achieved its sinicization through thexiqulization in China, permeated into Chinese Xiqu and made itoperatic. Thereby such new terms as model opera, Beijing opera-xiquand the opera of the same name from Xiqu, such as Huangmei musicalcame into being. The Beijing model Xiqu and xiqu-opera learned thelessons from the leading motive creation method. The band setup andcomposition were innovated, so did the new banshi and sentencestructure, opera theme music transplanted, love opera duetperformance imitated. All the improvements reflected the operaticprogress of Xiqu creation and performance, demonstrating Chineseopera and Xiqu went along with each other and prospered.The combination and collision of opera and Xiqu between beingnative and foreign coexisted along through years of struggles anddisputes, developing into a variety of vocal music performance stylesand vocal music teaching system, which laid the foundation for theChinese characteristic national vocal music school.In brief, the western opera and Chinese Xiqu developed in theprocess of collision while fused together into Chinese national opera.In addition, it pushed forward the xiqulization of national opera andthe operatic development of Xiqu, and established the Chinesenational vocal music and comprehensive system of vocal musicperformance and teaching.