A Brief Study On The Accompaniment Form Of Song,Yuan,Ming And Qing Opera Orchestra

Instrumental accompaniment is one of the important components of opera music,but the historical study of opera accompaniment bands is a part that has received less attention from multiple scholars.This paper will combine the characteristics of opera music in different historical periods of Song,Yuan,Ming and Qing dynasties to examine the forms of opera orchestra accompaniment in each historical stage.The paper is divided into four chapters.The first chapter is divided into two parts:court and folk,based on documents and cultural relics.The atypical orchestra reveals the direct connection between the Song miscellaneous opera orchestra and the court orchestra and the various attempts to "the Family Music" the Song miscellaneous opera orchestra.The second chapter of the Yuan Dynasty examines the accompaniment band forms of Yuan miscellaneous dramas and southern operas on the basis of the geographical division between the north and the south.At this time,the development of the accompanying band gave way to the development of the singing voice,and only added percussion instruments on the basis of the inheritance of Song miscellaneous operas,and the string music accompanying the scattered songs was vigorously developed,and string music was added to Yuan miscellaneous operas at the end of the Yuan Dynasty.During the Ming and Qing dynasties,the vocal repertoire of opera flourished,and there were close exchanges between northern and southern operas,and the opera orchestra also underwent great changes,so the Ming and Qing dynasties are mainly described from the perspective of vocal development.Chapter 3 explores the accompaniment forms of the four major vocal cavities in the Ming dynasty,making it clear that southern opera developed with orchestra accompaniment and was not the same as usual;it affirms the significance of Wei Liangfu’s reform of the accompaniment instruments of the Kun cavity as a reflection of the integration of northern and southern opera in the form of accompaniment.The fourth chapter,based on historical data from the Qing dynasty,is devoted to the transformation of the three opera cantatas,namely,the Kun cantata,the Bangzi cantata,and the Pihuang cantata,and presents three representative cases of the establishment,derivation,and selection of the principal instruments and cantatas.Finally,the conclusion summarizes the historical development of ancient Chinese orchestra accompaniment forms.This paper takes opera orchestra accompaniment as the object of study,and through the collection of historical materials,it tries to clarify the origin of the orchestra at the beginning of the formation of opera,the changes of instruments during the development of opera orchestra;and analyzes and discusses the driving force of the development of opera orchestra,the relationship and influence of the development of orchestra and vocal cadences in opera,and how the opera accompaniment music gradually improved into the present opera music,and finally connects the key points in the development of opera orchestra to explore the development of opera orchestra.In the end,the key points in the development of the opera orchestra will be linked to explore the law of the development of the opera orchestra accompaniment.