Henan Zhuizi Singing Art Research

This paper aims to investigate the Henan Zhuizi singing art.The primary research target of this paper is the vocal characteristics and singing style of Henan Zhuizi singing art,so as to rich folk vocal music singing and teaching and to promote the heritage and development of traditional vocal music art.Henan Zhuizi singing art formed during the period of Emperor Daoguang in Qing dynasty.It then further developed into three schools: East,West(Middle),North.During the Republic of China Period,this art formed a dualistic development pattern in which female artists and male artists coexisted,and gradually this kind of singing system became mature and settled.During the early days of New China,Henan Zhuizi singing art mainly focused on singing the new things happened in the new society.After the Reform and Opening up,the development pattern presented a dual track style.After entering the new century,Henan Zhuizi singing art is facing many difficulties while meeting rare development opportunities.The performance style of Henan Zhuizi is deeply affected by the local dialect of Henan province.The relationship between “enunciation and vocal” takes Henan local dialect as the core and follows the variation law of the lyrics and its tune which is often affected by Henan local dialect.The singing language not only highlights the characteristics,but also breaks through the local limitations.Little language changing is allowed,which means performers are allowed to use local dialect or mandarin when singing.As long as the performers take local dialect as the basic language,the local characteristics of Henan Zhuizi singing art can be highlighted continually.The special aside method of Henan Zhuizi singing art emphasizes commenting,explaining,expressing and narrating,which plays an important role on identifying the cultural identity of Henan Zhuizi singing art.The performance of Henan Zhuizi singing art is required to handle the relationship between “the tune” and “the rhythm” and to search its special rule of tune lubrication,which can be reflected in the aspects of timbre modeling,rhythm modeling and turn lubrication style.The author of this paper tried to find the melody rule of the special tune lubrication of Henan Zhuizi,and further named some rules according to their special characteristics,like Lian Ti Qiang,Lian Hua Qiang,Mo Qiang,Die Yun,Tuo Qiang Huan Yun and Dao Zi,etc.During the performance of Henan Zhuizi singing art,general tune lubrication coexists with special tune lubrication,which forms a dualistic pattern when performing “the tune” and “the rhythm”.The special tune lubrication plays a crucial role in presenting the inherent art style of Henan Zhuizi singing art.The combination of general tune lubrication and special tune lubrication strengthens and riches Henan Zhuizi singing art.Different schools have different ways to deal with relationship between the tune and the lyrics of Henan Zhuzi singing art,absorbing or integrating according to their needs.The reform of Qiao Zhuzi singing art adapts to the aesthetic taste of local citizens and social elites.Zhaozheng made outstanding contributions to the improvement of the taste of the art so as to make it more elegant.The main aesthetic styles of Henan Zhuizi are as follows: elegance goes hand in hand with vulgarity,lays equal stress on grave and harmony and combine cleverness and clumsiness,which shows a special aesthetic taste---law without definite rule and beauty with definite root.The first step of the transformation and development of Henan Zhuizi singing art is to perform differently according to different audience.New way of transmission should be adopted so as to capture the value orientation and aesthetic trend of the times.The key point of sustainable development of Henan Zhuizi is talent cultivation.A trinity education system of "schoolgovernment-cultural enterprise" should be established and a linkage teaching mechanism of “universities-primary and middle schools-training institutions” should be set up.