A Comparative Study Of The Traditional Singing And Newly - Compiled

As one of the four operas in Anhui Province, although Luzhou opera has experien ced a bumpy course of development, it still has great influence in Anhui Province. At p resent, there is a very good mass base. Luzhou opera has plain singing style and easy-u nderstand libretto which makes it deeply loved by the mass and closer to the masses’ li fe. The early development of luzhou opera has reached a mature stage before the libera tion, to form a certain scale and influence. After the liberation, affected by the policy,Luzhou opera once into the golden period of development and facing rare opportunities of development. But after the reform and opening, restricted by various factors Luzho u opera momentum from wax to wane. Luzhou opera music also changed actively or p assively.There are many factors that cause this change, so it should be analyzed from multi tasks. And this article shows Luzhou opera music as the starting point, will analyze and contrast the traditional singing before liberation and the new singing experienced chan ging from morphological characteristics. We can locate their own melodic characteristi cs and structural model, so as to explore the changes occurred in the development of th em and to find the law. Combined with the new situation in the new aesthetic drama, e xploring the necessary reform Luzhou opera has to do. After analyzing and contrasting,we believe that Luzhou opera has already showed the sign of transformation after expe riencing half a century of development bottleneck. The most important is changing the traditional tune from main type to auxiliary type, besides it turns to tune concept desali nation and strengthening the plate change.This article is divided into four chapters. Chapter one is based on the author’s on-t he-spot interview to card the development and change history of Luzhou opera. Chapt er two introduce the main tune of Luzhou opera’s melody and coloratura, including its morphological characteristics and structural features, etc. Chapter three applies the sam e way to analyze the representative excerpts of new singing, and then comparing it wit h traditional singing. Chapter four is the comparative study of the two. Respectively co mpare them by morphological and aesthetic and getting conclusion. The author tries to provide theoretical possibility for the future deepening reform development of Luzhou opera by this way.