Performance Study Of Wu Xiaoping’s Opera-song ——Take "Tsing Yi" And "Qiao Huadan" For Example

Opera-song,in short,is the combination of traditional Chinese opera and song.It contains traditional opera music culture and also incorporates music elements of The Times.It is a new vocal music art form emerging in modern China.Under the background of the new era,the emergence of Opera-song makes the declining traditional opera music appear in front of the public in a new way,which not only inherits the essence of traditional Chinese opera music,meets the aesthetic needs of the public for music,but also enhances the audience’s acceptance of traditional opera music.The emergence of Opera-song also provides new vocal music works for current vocal music learners and singers,and improves their ability to sing different kinds of vocal music works."Tsing Yi" and "Qiao Huadan" are the "companion pieces" created by Wu Xiaoping,a national first-class composer.Wu Xiaoping interpreted the two roles of "Tsing Yi" and "Hua dan" in Peking Opera by using the language of music.These two works retain the elements of Chinese opera on the basis of using modern composition techniques and became the representative Opera-song in recent years.This paper is divided into four chapters.The first chapter elaborates the reasons and significance of the author’s study of these two works,scholars’ research situation on these two musical works and Opera-song,the research methods and innovations adopted in this paper.The second chapter is divided into two sections.The first section describes in detail the emergence and development of Chinese opera,as well as the time when the genre "song" appeared in China.The second section of the composer Wu Xiaoping’s career is briefly introduced,classifies his works,and summed up the creation characteristics of his Opera-song works.The third chapter analyzes the musical works of "Tsing Yi" and "Hua dan" respectively,including the analysis of musical form,the interpretation of lyrics,the characteristics of vocal melody and piano accompaniment.The fourth chapter is the singing research of the two works,including five aspects: the grasp of the character image,music for voices and the type of metre for music in Chinese operas,the use of breath,the use of resonance cavity,pronunciation.