Chapter 26 Chapter 5 The Rise of Rap and Opera

Bianliang, the capital of the Northern Song Dynasty, Tokyo (now Kaifeng, Henan), with a circumference of more than 50 miles and smooth water and land routes, was the economic and cultural center and urban transportation hub at that time.After the founding of the People's Republic of Song Taizong, the whole country went through more than a hundred years of recuperation, and Bianliang was well-off and prosperous, and quickly became a big city that "exhausted the treasures of the five capitals and prepared the goods roads of Kyushu" (Song Zhou Bangyan's "Fu of Biandu").With the development of the city's commercial economy, citizens' artistic activities are also active, and idle musicians have more opportunities to make a living by performing arts in the city. Therefore, in the commodity distribution center area, bazaars and trade performance venues have emerged to accommodate vendors and entertainers. "Tile City" and "Goulan".

"Washi" is also written as "Wasi", "Wazi" and "Washe".It is a trading market where commodities are concentrated in the town. "Goulan", also known as "you shed", "invitation shed" and "music shed", is a place for folk artists to perform for a fee with railings around the city and a huge rain shelter on the top.According to the records in "Tokyo Menghualu" by Song Mengyuan, there were more than 50 Goulan in several tile markets in Bianliang at that time, and several larger sheds could accommodate thousands of spectators.

In the Southern Song Dynasty, Emperor Gaozong established his capital in Lin'an (now Hangzhou), barely maintained half of the imperial court, still singing and dancing, enjoying life and dreaming.Lin'an was originally an important trading port in the south, and after it was established as the capital, it became the center of politics, economy, culture and art in the Southern Song Dynasty.According to the detailed list of Wazi Goulan listed in Zhou Mi's "Old Stories of Wulin", there were as many as 23 famous tile cities at that time, of which the 13 Goulan in Beiwa were the most famous.

There are many types of cultural programs performed in Goulan in Washi, which can be roughly divided into several categories such as songs, songs and dances, rap, drama, instrumental music, and juggling.Among them, the art categories that best reflect the historical development characteristics of Song and Yuan music are rap music art and opera music art. The Song Dynasty was the earliest period when Chinese rap music matured and then became erect.Although storytelling figurines with drums were found in the Han Dynasty, and rapping Bianwen remained in Buddhist temples in the Tang Dynasty, it was in the Song Dynasty that professional entertainers with a large proportion of music performances appeared among the people and made a living independently by rapping traditional stories; the earliest in the history of Chinese literature The typical and most representative tune-based rap works of art were also produced during this period.The situation described in the third poem of Lu You's poem "Small Boat Tour Near the Village" is "the ancient willow in the setting sun, Zhaojiazhuang, the blind old man who bears the drum is playing the field, who cares about right and wrong after death, and the whole village hears about Cai Zhonglang". Objective portrayal.The art of rapping in the Song and Yuan Dynasties included many types of tunes with different characteristics, among which the more representative types of tunes were "Changzhan", "Guzici" and "Zhugongdiao".The contents sung in these genres are mainly cavalry war stories and folk love legends.

The origin of the name "sing earning" is said to be derived from the meaning of "making people earn money by mistake" (Nideweng's "Capital Ji Sheng").This kind of rap music art generally has two structural forms: one is called "tangle order", which is formed by adding an introduction before a number of tunes and leaving an end.Examples of this structure can be found in Jin Dongjieyuan's "The Romance of the West Chamber", such as [Yue Tiao Shang Ping Xi Zang Ling] - [Quail Fighting] - [Qingshan Pass] - [Xue Li Mei] - ——[尾] and other tunes are composed of divertimento, which is the musical structure in the form of entangling orders.The other is called "Zanda", which is composed of an introduction plus two tunes sung repeatedly in turn.For example, in "The Romance of the West Chamber", there is a passage from [Liuyao Shijian]—[Liuyaobian]—[Haha [hai cough] Order]—[Ruilianer]——[Haha Order]—— [Ruilian'er]—[尾] and other pieces are composed of divertimento, which is the musical structure in the form of Zangda.Drums, boards and flutes are used as accompaniment instruments.A piece of "Singing Earning Picture" in Song "Shi Lin Guang Ji" depicts this form of rap music (Figure 26).

"Guzi Ci" is a type of rap music that is sung repeatedly with the same tune and with spoken words in between.It is named for using drums as an important rhythm instrument.Representative works include Ouyang Xiu's "Twelve Moon Drum Ci" in the Northern Song Dynasty and Zhao Delin's "Cui Yingying Shang Diao Di Lian Hua Ci" by Zhao Delin.When singing, more than three people cooperate, one of them tells the story and sings the lyrics, and the others accompany them with musical instruments and singing.This way of rapping is often specified in the works, such as when to "sing", what tune to sing, when to "speak", and when to add singing accompaniment.For example, in "Yuan Wei Zhi Cui Yingying's Shang Tiao Butterfly Love Flower Ci" at the beginning and the end of the paragraph, it says "The tune is called 'Shang Tiao', and the title of the song is "Die Lianhua". Listen to the style, and then listen to the nonsense"; at the end of the white paragraph, there is also a fixed formula of "singing the singing partner, and then reconciling with the front voice". As an early rap genre, "Guzi Ci" has a direct impact on the formation of later Tanci rap art.

"Zhugongdiao" is a kind of rap music that takes the tunes of the same palace tune to form a short set, and then connects several short sets of different palace tunes into a long set, sings repeatedly and adds so-called words in between.This form of singing was first created by an artist named Kong Sanchuan during the period from Xining to Yuanyou in the Northern Song Dynasty (1068-1093 A.D.).Kong Sanchuan was a native of Zezhou (now in Jincheng and Qinshui, Shanxi). "Sanzhuan" is not his real name, but refers to his "knowledge of ancient things, good at calculation, yin and yang".He brought this form of rap from Shanxi to Bianjing, expanded the content to legendary ghost stories, and used many new tunes in singing, so it was very popular with the audience, and even scholar-bureaucrats "can recite it" (Wang Zhuo, " Biji Manzhi "Volume 2).The tunes of Zhugong tune mainly come from Tang and Song Ci tunes, Tang and Song Daqu, earning words and other folk songs.Accompaniment instruments mainly use drums, boards and flutes.In the Jin and Yuan Dynasties, stringed instruments were also used to accompany the accompaniment, so people in the Ming and Qing Dynasties called this form "〔CHOU〕Tan Ci' and 'Tan Li Ci'.For example, Mao Qiling of the Qing Dynasty said in "Xihe Cihua": "I don't know who Dong Jieyuan actually wrote "The Story of the West Chamber Tanci" (that is, "The Romance of the West Chamber"). This shows that in addition to drum boards, Zhugong Diao can also be accompanied by string instruments, and it adopts a self-playing and self-singing method dominated by one person.The early works of Zhugongdiao that can be seen so far include the fragments of "Liu Zhiyuan Zhugongdiao" written by Jin Ren Wuming, the "Xixiang Ji Zhugongdiao" written by Jinren Dong Xieyuan, and the fragments of "Tianbao Legacy Zhugongdiao" written by Yuan Wang Bocheng.The contents of these works are all romantic stories, which often become the subject matter of opera performances after development.Due to its grand system, rich tunes and strong expressive force, Zhugong tune not only had a great influence on the development of other rap genres since the Song and Yuan Dynasties, but also played a positive role in promoting the formation and development of Song and Yuan zaju art.