The Accompaniment Music To Eastern Henan Opera Of Research

This thesis mainly studies on the accompaniment art in east tune of Henan Opera,and it makes an in-depth research of the history and development of the accompaniment of east tune in different period of times and in distinctive circumstances,as well as the characteristics of the accompaniment.This thesis is consisted of seven parts,and they are preamble,study on the source of accompaniment music,accompaniment in civil field,the accompaniment in military field,bridge music,role of musician,and summaries.Preamble manifests the research significance of this subject,a review of former studies,and the research method.An introduction of the characteristic of the east tune of Henan is also included in this part,and concludes the live status study of the east tune as the subject of the thesis.The first chapter “Study on the source of accompaniment music” is unfolded from three aspects,the source of different tunes,the source of the accompaniment and the influence from other sister operas on accompaniment.Source of tunes bases on a summaries of previous classification and sorts out the development of east tune of Henan.The arise of accompaniment is accompanied with tune music,so its source is closely related with the source of tune.Furthermore,the development of an art form cannot be totally independent,which rule applies also to the east tune of Henan.East tune of Henan,given birth by auspicious tune,inherit most of the features of its mother tune,which is also influence by Kunqu Opera,has many songs from Kun qu Opera.After a study of its history of development,we give an explanation of its characteristics,i.e.boldness,forcefulness,sonority and feisty from the point of external environment.The second chapter focuses on the accompaniment of civil field,and consist of two parts: the instrument and Qupai.The settlement of the instrument comes along with the change of times and of the performing environment.Qupai can be divided into sting Qupai and suona Qupai,and it origins from Kunqu Opera,folk drum wind music,popular tune and that created and adapted by musicians who studied the other Qupai but failed.The use of Qupai,not that strict as Kunqu Opera's,is more free,which gives the players and the actors more space for their own styles.And in performances,the selection and replacement of either instruments or Qupai depends on the real time situation.The third chapter studies the accompaniment of military field,which can be divided into the instrument for the accompaniment and the gong tune.Gong tune is the custom tune made by one or several gong Qupai,and in east tune of Henan Opere,it has the most schools and the most outstanding style.Affect by the personality of the native people,the performance environment and the list of operas,gong performance in east Henan is bold and unrestrained.The use of gong custom tune is flexible,which is best exemplified in the non-stylized extemporaneous accompaniment.The selection of instruments and the length of performance depends on the actual performance.The forth chapter studies the bridge music.In regard of type of metre,this kind of music can be divided into adagio,rhythm,wind music,and non-standard.Every type of metre has its distinctive stylized regulation,and in general,there is bridge music for opening,omission,supplement,and transition.Each type of metre has its own bridge music type in accordance with its stylized regulation.The accompaniment for east tune of Henan,just as that of the other matre-tune operas,can be divided into five types,to set off,to absurd,to contrast,to underlying,and to supplement.Bridge music is the presentation of the playing method above.Chapter five studies the role of the main subject of accompaniment music,musician themselves.The writer starts with an analysis of the multiple roles of musicians,and reveals the connections between instrumental performers,between performers and actors,and performers and the playing environment,and gets an in-depth understanding of the creation main body and the creation environment in non-stylized accompaniment music of east tune of Henan.Finally,after a multistep illustration of east tune of Henan,we concludes that there is a non-stylized presentation in accompaniment music of east tune of Henan,and stylized and non-stylized accompaniments coexist in east tune of Henan.This thesis provides a theoretical reference for the inheritance and development of east tune of Henan when the accompaniment format in Henan is over-stylized and the music design lacks genre features.