On Beijing Ba Jiaogu Box-office Turnout Song Art,

Chaqu was one of Beijing folk art forms, which was said to begin in early Qing Dynasty and got its thrive during Qianlong period. Chaqu stemmed from the popular Chinese traditional opera form which was "High Tune and Plain Voice", performing by the Manchu bannered people in Beijing. Then on the basis of Chaqu , it appeared the kind of monochord, clapper ballad, etc. Gradually, it formed a particular "Beijing Bajiaogu Art System". Although different amateur performers had different ways of handling tunes when singing the same Chaqu , it existed common regulation to the first sentence, the middle sentence and the last sentence in Chaqu, influenced by the basic Chaqu's rules and forms, all that made the features of Chaqu music. In June 2008, Chaqu was on the list of China Intangible Culture Heritage, so it was paid great attention and preservation. However, the transformation of a music culture, not only included the performers and researchers who studied it, also included its space for existence and development. When it comes to the development of Chaqu, we had to refer to the Beijing Bajiaogu Piaofang, where amateur performers often take activitice. Bajiaogu Piaofang provided the practice condition for the amateur performers, preserving and enriching many programs of Bajiaogu arts, including Chaqu. At the same time, it trained the inheritors for Chaqu art. The communication and comparison between amateur performers, the interaction between audiences and amateur performers, both which gave more culture value and significance of Bajiaogu arts and took an irreplaceable affection on the Chaqu inheriting.The paper can be divided into five parts: Introduction, history and background of Chaqu, the development of Chaqu in Bajiaogu Piaofang, art features of Chaqu and the preservation and inherit of Chaqu. The author analyzed the art charming of Chaqu, and mainly focused on the co-existence of Chaqu and its space—Bajiaogu Piaofang. At last, the author gave the deep contemplation of Chaqu from the perspective of preserving and inheriting.In the introducing part, the author mainly stipulated on the academic value, real significance and innovation of Chaqu , giving the overview for the study of Chaqu, listing the inventory of Chaqu, main works and music materials. This part also introduced the research methods of this paper.In the first chapter "History culture background of Chaqu", the author discussed the original of Chaqu and its culture background.In the last section of this chapter, the author referred to Bajiaogu Piaofang, to singular that it was the ground for Chaqu's existence and development. This chapter was the foreshadowing for the second chapter.In the second chapter "the development of Chaqu in Beijing Bajiaogu Piaofang", the author mainly stated the function of the house, and took the typical houses in different eras for example to conclud the change of the function. In the third section, the author used "Tuanjie Yard" as a case to further discussed the inner interaction between amateur performers. In the fourth section, the author combed the four-year records of "Nishangxuyong" Bajiaogu Piaofang to sum up the programs and numbers for Chaqy performing to testify Chaqu's importance in it.The third chapter "Art feature of Cha Tune" was the key part in the paper. The author iscussed the features of Chaqu music from the lyric mode, the framework of Chaqu, the beat, etc. The author divided the repertoire of Chaqu into "elegant level" and "popular level", discussing the music features and the performing style of Chaqu.The fourth chapter was "Preservation and Inherit of Chaqu", which expressed Chaqu from culture perspective. The author made comparison with the same Chaqu music recorded for scores of years, in order to got a conclusion of the music's change or not change, pointing out the dilemma of the performers, the environment society via inheriting Chaqu. At last, the author tried to find out a better way to preserve Chaqu art.