| Beiqu(北曲)is one of the earliest operatic vocals,prevailing in the Yuan Dynasty.Literati and officialdoms-centred elite class started to standardize Beiqu Rhythm,since the publication of Central China Phonology,written by Zhou Deqing.After entering the Ming Dynasty,because the rulers tried to re-build the system of rituals and music,Beiqu was included in the ritual and music system,and was then given the symbolic meaning of“ritual”.That is why there were still a number of literati advocating Beiqu and detesting Nanqu(南曲),until the middle of Ming Dynasty.At the beginning of the Ming Dynasty,Ruler refined Beiqu and also,at the same time,regulated some of Nanqu in the form of"Into Xiansuo"(入弦索),which offered an opportunity for the emergence and growth of Xiansuo Guanqiang(弦索官腔)."Xiansuo"refers to the characteristics of this form of tune,that is,mainly accompanied by musical instruments of Xiansuo;Under the guidance of official consciousness,”Guanqiang”was widely used in the South and the North by using music men as the main body of its creation.Therefore,accompanying by Xiansuo instruments(Mainly were Pipa and Sanxian)as well as under the guidance of official consciousness,“Xiansuo Guanqiang”was a kind of tune form,whose lyrics were consistent to the rhythm of NanBeiqu tune.The continuity of the“Xiansuo Guanqiang”was consistent,and on the premise of consistency,it also had the characteristics of local richness.Due to the restriction of the official play policies in the early Ming Dynasty,Beiqu was constrained in many aspects,such as the scope of broadcasting,the subject of creation,and the content of the play,however,at the same time,Ming Dynasty also provided a relatively stable environment for the development of Beiqu.In the early and middle periods of the Ming Dynasty,Beiqu’s theaters,performances,and inspirational groups all had relevant regulations.From the courts to the localities,the performance places were definitely organized by correspondence organizations,which were restricted by the country.There are also restrictions on the content of the play and strict rules on what could or mustn’t be performed,as well as the locations.Originators were also limited by the official,such as common people、soldiers、and military officers were not permitted to act.As a major creator of the country’s music,“Yueji”(乐籍)systemwas required to master the melodies and sounds techniques,as an old going says,“Men should be familiar with forty Daqu(大曲)and women should remember three thousands short lyrics(小令).From the horizontal perspective,under the protection of the rotation training system,the usage of music of the local Wangfu and Guanfu was consistent with the central government.From the perspective of verticality,under the protection of the music system,the music form was saved and used continually and it won’t be changed dramatically with the passage of time.As a result,the country’s music has maintained consistency in both time and space.Local richness was reflected in some local palaces.Under the norms of “Xiansuo Guanqiang”,native music was innovated to create musical forms with local characteristics.“Xiansuo Diao” was a typical example.“Xiansuo Diao” was born in royal palaces in Zhongzhou in the early Ming Dynasty.The use of musical instruments of royal palaces was regulated by the state and the appropriate of use of it was allocated according to the prince’s rank.Located in Kaifeng,the Palace of King Zhou was an active venue for the drama.Zhu Youdun,Zhou Xianwang,was proficient in melody and created many famous plays,like Zaju,Sanqu and others,and Cheng Zhai Yue Fu(《诚斋乐府》)was one of the most famous plays.Ru Meng Lu(《如梦录》)also recorded the large scale of musical equipment used by royal palaces and local squires in Kaifeng.In that circumstances,the born and growth of“Xiansuo Diao”seemed inevitable.The term Xiansuo Diao was first proposed by Wei Liangfu and could be seen from both his Nan Ci Yin Zheng(《南词引正》)and Qu Lv(曲律).At the same time,Zhongzhou Diao(中州调)、Jizhou Diao(冀州调)、Modiao(磨调)were also mentioned in the above two books.Based on the existing research results,the author further proposed that Zhongzhou Diao was the same thing as“Xiansuo Diao”,which was produced and famous in Zhongzhou Districts,according to the logical relationship in the previous records.Zhongzhou’s reconciliation is a chordal tone that is produced and popular in the Zhongzhou region based on the logical relationship between the records.In the middle of the Ming Dynasty,“Xiansuo Diao”appeared to be“southernization”,and they were popular in the Jiangnan region in the form of“Xiansuo Xiaochang”(弦索小唱).This paper outlined the development environment,theatrical content,theatrical theater,and the subject of creation of Beiqu in the middle and early period of the Ming Dynasty,which aims to illustrate the transformation of the connotation meaning of Beiqu in the early Ming Dynasty compared with the previous generations,and the resulting morphological changes.In the last,find out the Beiqu’s patterns that still remains in the Xi Xiang Ji of Tai Gu Chuan Zong. |
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