"Interval Note" For "Rhyme In Mind"

As a member of Zheng schools of South of the Five Ridges,Chaozhou Zheng has its unique feature that is the moving and changeful,exquisite and delicate music changes of “rhyme in left hand” in performances,which results in the field widespread controversy about Chaozhou rhythm from “seven-equal rhyme”,“non-seven-equal rhyme” to “seven-reverse rhyme”.Taking “rhyme in left hand” in the performance of Chaozhou Zheng as research object,the paper firstly gives a brief introduction to the regulated Zheng's rhythm phenomenon in literatures through interview,participant observation,learning performance and other field investigations.The moving of Chaozhou Zheng's tonality will influence its rhythm,which reflects on the performance techniques of the interval note in “rhyme in left hand”.Therefore,“rhyme in left hand” is closely connected with Chaozhou rhythm.In order to distinct the Zheng rhythm regulations in literatures,the paper explores how to present the relation between “rhyme in left hand” and Zheng rhythm in performance with the perspective of “dynamic phonology”.The field diversified performance contexts contribute to the so-called “one person one style” of“rhyme in left hand”.One occasional “interval note” event enlightens the author's thinking about tonality difference.In diversified performance contexts,the author finds out diversified “dynamic phonology”,where thereby it carries out the comparative analysis of music text and active field performance text with the most representative “accentual six-tonality” and “active five-tonality”.Through seven field and ethnography cases,including “six-tonality” of The Lotus Emerging From Water and “active tonality” of Madam Liu Qing,the paper makes a comprehensive and in-depth analysis of the reasons for the diversity of “dynamic rhyme” in performance.Thereout,the reason for temperament controversy will be apparent.In the controversy,Gu Yubin,the performer of Chaozhou Zheng,become the central person by innovatively proposing and concluding “non-seven-equal rhyme” and “artificial rhyme” basing on long-term practices.In the view of the theory and method of musical anthropology,the author interprets how Gu Yubin transcends traditional rhythm system for propagandizing and promoting Chaozhou Zheng.He standardizes the “interval note”(crosstalk note)in tune rhyme,performance rhyme,which influences the Zheng's performing practices in Chaozhou area.To some extent,the paper expresses Gu Yufu's discourse power,maintenance local discourse,explores local positioning and makes up professional inside and outside deficiencies.From the diversified to the standard,scholars are interpreting the relation between“rhyme” and “tonality” in the view of different “phonology positions”.