The Relation Of Banqiang Type Chinese Opera's Melody And Lyrics' Intonations

The ups and downs of traditional Chinese opera's melody,are connected with the intonation of lyrics.This article takes the relationships of Banqiang type Chinese opera's melody and lyrics' intonations for research object,analyses and rethinks the principle of composing according to the lyrics' intonations.In order to research the similarities and differences of the relationships of melody and lyrics' intonations between Banqiang type Chinese opera and Qupai type,this article did a comparative study taking several different kinds of Chinese opera as examples.This text is divided into three chapters as followed:Chapter one: the development of Qu tune's relationships of melody and lyrics' intonations.This chapter combined the research results of the academic circles,and holds that since Tang and Song Dynasties,the relationships of melody and lyrics in musical literature has been divided into two parts: the folk irregular songs were composed in pre-existing tune,and the relationships of melody and lyrics were relatively loose;the literati's creations have already formed a regulation of composing according to the lyrics' intonations until Song and Yuan Dynasties,and the the relationships of melody and lyrics were rigorous.In modern times,Kunqu Opera still strictly adheres to the principle of composing according to the lyrics' intonations,and lyrics' intonations are the decisive factor of the Kunqu Opera's melody;as for Sichuan Opera,as a complex and folk opera,only part of Kun tunes and Gao tunes compose depended on lyrics' intonations,while the melody of Bang tunes,Tanxi tunes,Huqin tunes and Dengdiao tunes have had certain independence preliminarily,even though lyrics' intonations are properly considered.Chapter two: relationships of mature Banqiang type Chinese opera's melody and lyrics' intonations—— takes Beijing Opera as example.Combining with relevant research works,this chapter analyses the masterpiece of Beijing Opera.It is believed that the relationships of melody and lyrics' intonations of Banqiang Opera,represented by Peking Opera,are more flexible than that of Kunqu Opera.Although the singing tone of Peking Opera is influenced by the lyrics' intonations,there are many phenomena in the actual works that break through the limits of the lyrics' intonations.Therefore,the lyrics' intonation is only a restrictive factor of the melody,not a decisive factor.This phenomenon reflects the music ontology of Banqiang type opera,represented by Beijing Opera,and the relationships of melody and lyrics' intonations are both mutual coordination and independent.Chapter three: relationships of newly generated Banqiang type Chinese opera's melody and lyrics' intonations——takes Yueju Opera as example.This chapter broke the research status in academic circles by making a painstaking investigation,and pointed out that the relationships of melody and lyrics' intonations are loose but never free.The common,frequently-used and suitable melody of Yueju Opera is dispersive in distribution and flexible in use.Compared with Kunqu Opera,the constraint of lyrics' intonations on melody in Yueju Opera has been relaxed.The factors that influence the melody are not only surface factors,but also deep factors;not only the influence of music forms,but also cultural transmission and other factors,which seems far beyond the lyrics' intonations.In a word,the connotation of composing according to the lyrics' intonations is developing,changing and flexible.There are differences in the rules,modes and extent of composing according to the lyrics' intonations in different times and types of operas.This difference reflects the evolution of the relationship between the literature and music in Chinese opera from the Ming and Qing Dynasties to the present.