A Study On The Jiaozhou Yangko

Jiaozhou City, a city in Qingdao, locates in the southwest of Shandong Peninsula and the northwest side of Jiaozhou Bay. The Jiaozhou Yangko (a popular rural folk dance originating in Jiaozhou), a synthesis of folk canzonet, dance and drama, is regarded as one of the three most celebrated Yangkos, the form of art comes from the countryside, usually composed and played by people themselves. The previous study of Jiaozhou Yangko puts their emphasis on the study of dance and the record of the rhythm, thus an systematic analysis of its music has not been conducted. The writer intends to conduct a comprehensive analysis on the melody structure, mode and tonality, rhythm and supplementary sentence, tempo and accompaniment music from the perspective of music, tries to grasp the artistic characteristics of Jiaozhou Yangko from music itself. Then the methodology in ethnomusicology is adopted to analyze and study the social function as well as the succession and protection of Jiaozhou Yangko. The thesis is composed of the following six chapters.Chapter One introduces the natural and humanistic environment of Jiaozhou Yangku, which summarizes the influence of the natural and humanistic environment on Jiaozhou Yangko.Chapter Two states the development of Jiaozhou Yangko. The Jiaozhou Yangko originates from the Late Ming and Early Qing Dynasty, which is a self-entertaining canzonet Yangko at that time; then it grows into a playlet Yangko for money-earning purpose in 1856; the 1920s is a time of"Kongfu Yangko", represented by Chen Luanzeng and"Cultivated Yangko", represented by Liu Cai; Today diverse forms are employed to play the Jiaozhou Yangko. The history reflects that the Jiaozhou Yangko roots itself in the farming culture, influenced by Qi Culture and Marine Transportation Culture, which make it a local form of play with diverse forms and rich cultural connotations.Chapter Three mainly discusses the basic components of Jiaozhou Yangko, which introduces the characteristics and development of role and performance, prop and costume as well as the name of tune and list of plays. Chapter Four explains the musical feature of Jiaozhou Yangko. Taking the collected 47 pieces of Yangko music as the object and adopting analytic method of Chinese music structure, the thesis analyzes the melody structure, mode and tonality, rhythm and supplementary sentence, tempo and accompaniment music. The writer found that no matter the aria music or the accompaniment music, the music structure of Jiaozhou Yangko is short and concise, which do not put much weight on symmetry and regularity. The music adopts Zhi Mode and a great deal of partial to enrich the mode. Seventh interval reverse third of solving, the procession of rhythm is based on lyrics and mood. The tempo is mainly 2/4 beats, but with changeable and complex tempo. These unique features compose the style and characteristics of Jiaozhou Yangko.Chapter Five explores the social function, another demonstration of Jiaozhou Yangko's vitality. From the survey conducted, the writer can deeply notice the entertaining, educational, interpersonal and health-keeping functions of the local playlet, which also explains the reason of the development of Jiaozhou Yangko.Chapter Six holds that Yangko, as one important part of non-material cultural heritage, its succession and protection needs the devotion and support from government and various circles of society.