Theory Of The Yellow River Delta, East Road Bangzi Music Characteristic

The brilliant art of Chinese opera, focusing on the essence of Chineseculture, is called the Chinese art treasures. Shandong, located in thenorth-south transportation hub, is not only more developed areas of economicand cultural, but also the prosperity of the land of the Opera.317operas existin China ("Encyclopedia of China. Chinese Opera Volume), and there aremore than30operas existing in Shandong. The type of opera tunes consisting,in Shandong province, has Bangzi opera，string cable cavity system, elbowdrum sub-cavity system, the system of “Song and Dance-opera” and thesystem of “rap–Opera”, and so on. The type of Bangzi opera has ShandongBangzi, Laiwu wooden clappers’ opera, Eastern Road Bangzi, watchman’srattle Calligonum, Backer Bangzi and Peace tune.There are dozens of operas in the Yellow River Delta, and Eastern RoadBangzi, which is evolved from Shanshan Bangzi during the middle of Qingdynasty, is the unique Bangzi opera. The Shanshan Bangzi, absorbed the localfolk, rap and other folk music art forms and combined with the local dialect,has been built up the Eastern Road Bangzi. This Bangzi opera in Zhangqiu,named Zhangqiu clapper, is most popular. For making a distinction betweenthe Hebei Clapper, it is also known as Eastern Road Bangzi. At that time, theEastern Road Bangzi combined with Beijing opera, Hebei Clapper, Lu Operaand pentameter play operas made up "triple class" or "five Kuni classes" onthe same stage, and drew nutrition, learned the essence to develop the EasternRoad Bangzi, and greatly influenced other operas.This paper applies methods of music history, music communication,music analysis, and ethnomusicology to analyze music features anddevelopment of the Eastern Road Bangzi in depth. This article is divided into five parts: Firstly, it introduced the topic of theorigin and significance, including the current status quo of Eastern RoadBangzi, the purpose and significance of this thesis and breakthroughs whichthe author seek to achieve on the basis of previous research. Secondly, theauthor uses the method of music historians and music communication toanalysis the origins and development context of the Eastern Road Bangzi.Thirdly, the author uses music analysis method to study the plate-type, tune,structure system, singing method, the band such aspects, in order to as asupplement and make breakthrough. For the plate-type aspect, this chapteranalyzes the matter of its title, classification, the same name but differentplate-types and the same plate-type but different names. For the tune aspect,this chapter expounds features of the overall tune melody, the clapper tune intune, and other tunes on Eastern Road Bangzi, and states the relation betweentune and libretto. For the institutional structure aspect, this chapter expoundsthe traits of whole institutional structure and aria institutional structure onEastern Road Bangzi, such as the format of singing, the cavity falling board,accompanied interlude, and so on. For the singing aspect, this chapter stresseson voice features and run-cavity features (word run-cavity and cavity roundrun-cavity) of Eastern Road Bangzi. Fourthly, while it demonstrates its musicontology, it makes preliminary studies on the mutual penetration ofrelationship between Eastern Road Bangzi and traditional local music, such asfolk songs, singing and dancing, rap music, opera and other religious music.Fifth, this paper makes summarize about the origin and music features ofEastern Road Bangzi.