The Study Of Zhucheng Mao Tune

Mao tune is an important part of Chinese opera, more than 100 years ago, mao tune spreaded to Zhucheng, Anqiu, Gaomi, Jiaonan from Linyi,Rizhao,and rooted in the Zhucheng, prosperity and development,created a long tradition of Zhucheng Mao tune.The frist part of this papers is Introduction, this part of writing is the reason of studying Maotune, researching Status, researching methods and the main contents of this papers. The first chapter is divided into three sections, SectionI describes the geographical environment of Zhucheng, Section II describes the historical background of Mao tune, Section III describes the study of the value of Zhucheng Mao tune.Chapter II of this article is the source of Zhucheng Mao tune and development of change, divides into three sections, SectionI is the source of Zhucheng Mao tune, the source is Zhou Gu Zi tune System; Section II is three stages of development and evolution, Ben Zhou Gu, MaoZhou Gu, Mao tune; Section III is the main features of Zhucheng Mao tune, melody is easy to understand, Lyricscloses to life, form of the performance closes to the people, learn from the strengths of other forms of opera..The main contents of this article and innovation is the third chapter-art features of Mao tune. The third chapter is divided into eight content. Section I is Mao tune types and characteristics of the singing, Mao tune belongs to plate tune, seven or ten words in each sentence. Section II is plate of Maotune, include original plate, two plate, slow plate, shake plate, san plate and soon. Section III is scale and tone of Mao tune, most is seven bands. Section IV is the concert characteristics of Mao tune. Section V is a characteristic accompaniment of Maotune. Mao tune in Ben Zhou Gu stage, there is no string and wind instruments, in Mao Zhou Gu stage, used piano to the accompaniment, when Mao chamber was established ,musical instruments is complete. Section VI is the language features of Zhucheng Mao tune, dialect is the character is tics of maotune. there are many different in dialects and Mandarin, people have applied to the singing in local languages, formated Zhucheng characteristics of Maotune. Section VII is the Hangdang of Zhucheng Maotune, the Hangdangof Zhucheng Mao tunedivided Sheng, Dan, Jing, Chou, Mo liking other opera. Section VIII is the chamber repertoire Zhucheng Mao tune, include traditional repertoire and modern repertoire.Chapter IV is divided into two sections, Section I is the spread and development of Mao tune in Zhucheng, the development of Mao tune is different in different periods, In the twentieth century, the sixties, people had seen more than a dozen new productions every year, and now ,we can only see some fragments which shown by Zhucheng Troupe Actor. With the development of society, people's living is improved, TV technological progressing, people have a total of more than entertainment, Mao-cavity is being forgotten people. Section II is measures to promote the development of Mao tune, Including five areas: recoverying Mao tune theater, expansing of people-based, Creating a good environment, innovating repertoire and melody, seeking government support. Anyway, The authors hopes do for Non-material cultural heritage protection by researching Mao tune, and more people concerne about protecting the national culture after understanding this knowledge.