An Analysis Of Tune Name [Ye Shen Chen] In Instrumental Music Genre

The Peking Opera tune name [Ye Shen Chen] is based on the four singing melodies of tune name [Feng Chui He Ye Sha] of kunqu opera <Si Fan>,by a number of musicians after years of creation,is a classic opera tune name.The classic feature of tune name [Ye Shen Chen] is not only because it is the wonderful accompaniment for the famous Peking Opera plays <Beating Drums and Cursing Cao> and <Farewell my concubine>,but also because of the unique insight of several performers,composers and adaptors after that,who they in different times in different genre style and developed it with ingenuity from the original backstage accompaniment into a variety of independent stage performances,and adapted and created a series of different instrumental music works based on the theme of tune name [Ye Shen Chen],in the long path through time and space,it presents multiple forms of artistic expression,which are constantly evolving and regenerating with the basic tone of [Ye Shen Chen].This paper will focus on the six instrumental music works of the 20 th century of the drum and jinghu's music <Ye Shen Chen> adapted by Li Minxiong in 1973,the jinghu's music <Yu Beauty Ye Shen Chen> adapted by wu hua in 1983,the first movement <Ye Shen Chen> of the erhu concerto <Ye Shen Chen> created by Liu Nianqu in 1991,the third movement of Huqin suite<Dancing> adapted by Chen Yi in 1997,and the 21 st century of the guzheng's music <Ye Shen Chen> adapted by Wang Zhongshan wang in 2000,pipa's music <Ye Shen Chen> adapted by Dong Xiaolin in 2012,and analyzes and ponders on the application of the classic music works of tune name [Ye Shen Chen] in different times,different genres and different performance forms.Concrete thinking of writing of this paper is: the first chapter discusses tune name [Ye Shen Chen] from many times change application in opera repertoire to developing process of instrumental music music works,first briefly describes the evolution of tune name [Ye Shen Chen]from kunqu tune name [Feng Chui He Ye Sha] to Peking Opera tune name [Ye Shen Chen],and then narrates the different variations of the newly born tune name formed in different Peking Opera repertoire and the numerous instrumental music works that followed,and selects six works from them.In the second chapter,six instrumental music works based on tune name [Ye Shen Chen] are analyzed and discussed in detail according to various morphological features of different works.First find out the common points among the six works,and then look at the individual characteristics of each work.The third chapter focuses on the way of tune name [Ye Shen Chen] evolution and other related content,combined with the six books,on the basis of the second chapter,the communication commonness of tune name [Ye Shen Chen] in instrumental music genre is gradually clarified,and deduces the idea of "stepping but not transfiguring" in the process of adaptation and creation of modern and contemporary instrumental music works.