<h1 class="pgc-h-arrow-right" > widely picked up the remains of the tone</h1>
<h1 class= "pgc-h-arrow-right" > – foreword to The Music of the North Road</h1>
< h1 class="pgc-h-arrow-right" > chill</h1>
Comrade Wang Zemin, starting from the accumulation of materials in 1964, lasted nineteen years and went through several twists and turns, and in May 1982, he collected and compiled a "North Road Zizi Music", which was a very meaningful work. Shanxi has four major zizi in Beilu, Zhonglu, Shangdang, and Puzhou, which, like the Tongzhou Zizi and Qin Cavity in Shaanxi, as well as the Zizi and Random Bullet Plays in other provinces and regions, are all successively evolved and differentiated from the "Shanshan Zizi" in the triangle of Shan, Shaanxi, and Henan. The North Road Zizi is only a branch of the big family of Zizi Opera, but it occupies an important position in the Zizi Vocal Cavity Drama Genre.
The formation of Chinese opera, as we all know, can be traced back to the "Southern Opera" of the Southern Song Dynasty and the "Northern Miscellaneous Opera" of the Jin Yuan Period. At that time, the structure of opera music, both north and south, was a kind of combined drama in which various palace tunes and miscellaneous tunes were combined. Tuning, mode, body structure, melodic characteristics, sound line relationships and tune sources are all very mixed. There are court songs, legal songs, drum lyrics, palace tunes, literati songs, and folk songs of various nationalities and regions, and from the beginning, they are the same tune between men and women, and there is no distinction between genders. Entering the Ming Dynasty, the decline of Yuan miscellaneous opera, the rise of legendary drama, and the gradual implementation of bold innovations such as the combination of northern and southern operas and the collection of songs from the palace, including the Kunqu opera after Wei Liangfu's transformation, the opera music has always appeared on the stage in the form of a joint song, and theatrical activities have been dominated by the upper society. At the end of the Yuan Dynasty and the beginning of the Ming Dynasty, artists from all over the north and south of China, with the help of the enlightenment of the stage art experience of Yuan miscellaneous opera and southern opera, started a new stove with local folk songs, raps, songs and dances and other folk art forms, and created dramas that were easy for the working people to understand and like to hear, so the prototype of colorful folk opera came into being. The predecessor of zizi opera, the two-sentence "earth opera" in the Shanshan region, also came out during this period, of course, it is still very primitive and vulgar. From the perspective of zizi drama, in fact, it is still in the gestation period and is not valued by the upper class. By the middle of the Ming Dynasty, during the Years of Jiajing and Wanli, social life was relatively stable, the development of industry and commerce in the north and south of the great river, the growth of urban population, and the greater demands of the working masses for cultural life. After a period of incubation, folk drama has gradually formed a variety of initial "regional" sound cavities, and has emerged in society, full of vitality and showing its own skills. Due to the historical and social reasons at that time, and because the upper class society always attached importance to the customary power of the vocal cavity opera, history recorded the rise of the vocal cavity in the south. In addition to the most influential Haiyan, Yuyao, Yiyang, Kunshan four loud cavity to win, and by Wei Liangfu and others processing and sorting, the formation of the later "water mill cavity" Kunqu opera, became the upper class respected for a time "Yabu" opera, when the time there were Huizhou, Yihuang, Qingyang, Siping, Leping, Zongyang, Yiwu and other cavities. In the north, there are Xiqin (i.e., Xiqin) cavity, Ziqin cavity and various local folk songs and plays. Although all these folk operas are still modeled on the lianqu style or sung in the folk song style, it has adapted to the cultural life of the vast number of villages and towns to greet the gods and the Xia Riba people. At this point, opera activities began to change from the upper class to a wide range of activities in the folk, becoming a historical trend that broke through the bamboo. At the same time as the formation of the above regional sound cavities, in the mountain, Shaanxi and Yu triangles centered on Puzhou, Tongzhou and Shaanzhou, the local earth operas with the above and lower two-sentence curved structure as the main structure have also been widely active in the folk in this area with a new attitude after a period of incubation. It is characterized by the activities of specialized classes everywhere, such as the record of "Puzhou Yihe Class Performing Here" in the "Record of rebuilding lelou" of the Dragon King of Jixian during the Ming Jiajing period. In the same period, there were still the victory class of Linfen, the Renyi class and the Yusheng class of Yongle Town, the Yongle class of Puzhou, and the Xinsheng class of Rongyi. According to the stage inscription wall of Hejin Xiaoting Village, at that time, there were eight major plays staged in the Xinsheng class (the records of Tongzhou in Shaanxi and Shaanzhou in Henan have not yet been clarified). Whether it was called a dirt opera at that time, or a random bomb, or a zi zi play, in short, it seems that it has been the initial formation stage of the "Mountain Shaanxi Zizi", and it is also the ancestor of today's Zi zi family. The Shanshanyu region is known as the cradle of Chinese culture. From the perspective of northern opera alone, the Northern Song Dynasty rap artist Zezhou Kong Sanchuan created the art of rapping in the style of the palaces, and on this basis, the Yuan-Yuan period produced Yuan-miscellaneous opera centered on Pingyang, after which the Yuan-miscellaneous opera entered Dadu and formed the early Chinese opera. Since then, song and dance, miscellaneous dramas, and scattered music activities have become quite popular in this area. Judging from the large number of above-ground and underground opera cultural relics found so far, there are many music buildings, dance halls and opera stages in the Song and Yuan dynasties in this area. During the Jin Yuan Period, the miscellaneous operas were even made into pottery figurines as a martyrdom system, which can be seen in the prevalence of miscellaneous operas in this area at that time. The "Notes of Hua Chaosheng" records that "the miscellaneous drama Mo Sheng Yu Jin Yuan, compiled by Gu Zhi Mingyan, that is, the actor, also the man of Duo Hongshuo. "The scribes developed miscellaneous dramas on the basis of songwriting, which naturally tended to be elegant and difficult for the majority of laborers to appreciate. This area is also rich in folk art, especially local folk songs and dances, northern drum words and "books of persuasion" of the "treasure scroll". Folk narrative rap art and puppet plays are quite popular in this area, which provides objective conditions for the production of two-sentence curved structures. Folk artists learn the stage art experience of miscellaneous dramas, and it is convenient to make the two-sentence narrative poetry rap art and puppet plays on the stage. All kinds of new and diverse folk operas throughout the country also use various conditions to spread and influence each other in various regions. For example, foreign dramas such as Kunqu Opera, Yiyang Cavity, and Qingyang Cavity were also quite active in Shanxi at that time, especially in the southern and southeastern Jin, and they also had a certain impact on the growth of Zizi opera. These are all important reasons why popular zizi plays can grow quickly. From the middle of the Kangxi Dynasty to the Qianlong period in the early Qing Dynasty, it may be the period of the initial completion of the art of Zizi opera. On the Lantern Festival of the 46th year of the Kangxi Dynasty, Kong Shangren, the famous playwright of "Peach Blossom Fan", sang the opera in the "Pingyang Bamboo Branch Words", with the words "randomly playing Once Bo Cuihua watched" and "favorite Aoi Wa walking small steps", which at least showed that at that time, the opera not only had its own famous people, but also in the case of all kinds of discrimination in folk opera, it was able to let the Kangxi Emperor who was on tour watch the performance in order to fight for his right to exist legally. By the Qianlong Dynasty, the Zizi Random Bomb had gone far out of the Triangle of Mountains, Shaanxi and Yu, and as the backbone of the Huabu drama, in an art competition of the Huaya controversy, it could compete with the Yabu drama represented by the Kunqu Opera of the Water Mill Cavity. After only a hundred years, during the years of Tongzhi and Guangxu, Zizi opera actually entered its first golden age. This is mentioned below and will not be repeated here. The narrative poetry rap art that traces back to the structure of the upper and lower two-sentence song body has a long tradition in China, far from the Qin Han Lefu, such as "Picking Mushrooms on the Mountain", "Fifteen From the Army", "Peacock Flying Southeast" and other types of narrative poetry, that is, it has laid the foundation for the narrative singing art of the two-sentence song structure. Until the Six Dynasties, this kind of poetry was always in the middle of five sentences. The Han Dynasty drum-hugging rap figurines unearthed in Pengshan, Sichuan and other places are likely to be this kind of folk narrative poetry rap art. Since then, although successive rulers have abolished the system of collecting folk art, this kind of narrative poetry singing art form has always been popular in the folk and has developed. In the Tang Dynasty, the narrative "word text" that evolved from the five-word style to the seven-word style and the seven-word rap style "variation" that added the words, the rap body "Tao Zhen" and "Treasure Scroll" produced after the Song Dynasty, and even the various "drum words" popular in the north and the "bullet words" in the south were also the inheritance and development of the rap art of the two-sentence type, but the style evolved from seven words to "cross sentences". This form of rap is also absorbed by puppet plays and becomes the vocal cavity structure of some puppet plays. In the Triangle of Mountains, Shaanxi and Henan, it is natural to be influenced by the ancient cultures of Chang'an, Luoyang and Bieliang. In terms of opera, in addition to being influenced by the Northern Song Dynasty palace tunes, Jinyuan miscellaneous operas, and scattered music, the sound cavity structure of folk puppet plays and shadow puppet plays such as "hanging line monkeys" and "cloth bag monkeys" here is also two-sentence. I think that the embryo of the zizi play in this area, the earth opera, is likely to be derived from the bridging effect of puppet plays such as puppets and shadow puppets. Because the puppet drama in this area not only imitates the conditions of the Sheng Tang Dynasty, the Northern Song Dynasty song and dance, the JinYuan miscellaneous drama and the scattered music, but also has a set of two-sentence sound cavity art used by the puppet play. As long as you change the technique and use "people" to perform, it is the prototype of a new form of opera. The two-sentence vocal cavity art can absorb the plate structure of the early stage of miscellaneous drama and puppet opera opera music, and has a large number of two-sentence puppet drama repertoire and rap tracks for easy transplantation. It is also a logical practice to turn it into an easy-to-understand "earth play". Wang Shaoyu, an old entertainer of fushan puppet shows, once said: "Big dramas are not big, small dramas are not small, and small dramas are actually the ancestors of big dramas." The so-called "small drama" refers to the local "hanging line monkey", "cloth bag monkey", "shadow puppet play" and other puppet plays, and the "big drama" is the Zizi play, which is also an example worthy of attention. The evolution from "earth opera" to "Zizi opera" still requires an evolution process of artistic practice in the art of sound cavity. In addition to accepting the changes in the rhythm and speed of music such as the middle, slow, fast, scattered, and stacked music in rap music such as the "joint song body" drama and drum lyrics and the persuasion book, and gradually forming its own set of original plates, slow plates, two sexes, guide plates, scattered plates, stacked plates, allegro, rolling white, etc., this singing cavity plate style should also be naturally in accordance with the dialect, pronunciation and folk music characteristics of this triangle, so that it is incorporated into the habitual tuning, mode, melodic and line relationship of folk singing art in this region. Create its own vocal voice personality in long-term singing. In the process of creating this cavity, one of the biggest features of the zizi drama formed is the experience summary and standardization of "giving way" in the singing cavity. That is, the singer cannot sing on the strong beat of the zi, and must let the open zi open the mouth, which is called "eye rise and fall". To be more specific, that is, slow three eyes to open the middle eye, one plate and one eye to open the eye, and half a beat after the board has no eyes. Since folk artists had no culture at that time, learning to sing did not rely on notation, and always adopted the method of oral transmission. Therefore, the opening of the "handicap" is a big problem for the singer. However, from the perspective of the rhythm change of the plate structure, practice has proved that the singer adopts the guidance of "giving way", which is very beneficial to the transformation of the plate and the connection between the front and back, and it can be handled seamlessly. In order to solve the problem of actors singing and mastering the "board", it is necessary to have a batch of percussion instruments that are louder than the "clapping board" to master the rhythm size. This is the use of Xiangmu "梆子" in "earth play". Artists are very important to whether they can master the rhythm of "letting goboard" through "Zizi", so they have always described "Zizi" as "Taihang Mountain". Whether the size of the plank is sung accurately depends on whether it can cross the difficulty of "Taihang Mountain". "Shanshan Tujue Opera" has reached this level, and the sound cavity art has undergone a qualitative change. Based on the prominent impression of the sound of the stage, the masses gave this new sound cavity drama a popular and reasonable name, called "Zizi Drama" or "ShanShanzi Zizi". Another feature of the formation of zizi drama is that in the musical accompaniment and the choice and use of musical instruments, there is no old way of the predecessors. In the past, the drama of the joint music is mainly accompanied by a flute, or a song to help the cavity, or a string string to pluck the music. According to the appetite of the working people in the Shanshan-Shaanxi-Yu region, a large number of local folk musical instruments were used. The most prominent is the use of bowed string instrument Huqin as the main instrument, and later gradually formed The Huhu, Second String, Third String, and Four Strings (Yueqin), known as the Four Major Pieces of String Music. However, in terms of the evolution of the strings of zizi opera, the second string actually retired from the status of the main instrument. At the same time, according to the needs of theatrical art, let the folk drumming music be put on the stage to set off the atmosphere. The performance of these instruments not only absorbs the music of the combined opera, but also boldly uses the folk silk string cards and the gong na card, which are closely related to the life of the working masses. Moreover, a set of percussion music rich in local folk colors such as cymbals, horse gongs, reamers, and hand gongs was applied to the stage of zizi opera, and according to the needs of the plot and the growth process of zizi opera, a set of special "gong and drum sutras" for zizi opera was gradually formed. These things, in the eyes of the ruling class and the scribes of the upper class, are indeed things that are not elegant. That is, in terms of huqin, the Xiqin, which was pronounced by a bamboo piece in the Tang Dynasty rubbing the strings between two strings, evolved into the later horsetail huqin, which has never had its place in court music. However, the newborn folk opera "ShanShanzi" wanted to use it as the main instrument and add the skillful playing skills of folk artists, and the masses listened to it. For example, in Wu Taichu's "Yanlan Small Score" during the Qianlong period of the Qing Dynasty, it is said: "Friends say, Shu Ling's new piano cavity ... Its instrument does not use a flute, mainly a huqin, a moon qin, and a ruler. This is another major innovation of "Shan Shan Zizi" in the history of opera music. By the time of the Qianlong and Jiaqing periods of the Qing Dynasty, the "ShanShanzi" was already very mature and very active. As mentioned earlier, it greatly jumped out of the mountain, Shaanxi and Yu Triangle, competed in various parts of North China, and even extended from Western Shu and other places to the south, and finally made the random bombs everywhere become a major branch of the Zizi opera in the south. It began to impact Yabu Kunqu in Beijing, and for a time a dispute between Huabu Andi and Yabe Kunqu was formed. Of course, the so-called flower department is not all about the random bullets, it is the general name of folk opera in various places at that time. That is, the analysis of the forty-four Danjiao in the Beijing Flower Department as mentioned in Qianlongjian Wu Taichu's "Yanlan Xiao genealogy", including the twelve large and small class societies at that time, the actors were from the twelve provinces and twenty-seven counties, which proved that the art form of huabu opera at that time was quite complex, and even a class society or the same actor could master several forms of singing at the same time, and the boundaries of the drama types were not as strict as they are now. However, the sycamore bomb is a major force in the art of Hanabe in any case. Take Wei Changsheng in Sichuan as an example, it is understood that he not only sings and blows, but also focuses on random bombs. In the fifty-sixth year of Qianlong's entry into Beijing to take up the "Shuangqing Department", this class society was not prosperous at that time, but Wei Changsheng dared to say: "Those who let me join the class for two months without increasing the price for the princes are willing to be punished without regret." Then he sang the drama "Rolling Building", and sure enough, the famous capital moved, and the audience reached a thousand people, so that the other six famous classes were suddenly reduced, and Shuangqingyi became the first class society. Later, his apprentice Chen Yin'er acted in "Roasting Fire", and he was even more blue. Xue Si'er of Puzhou was once known as the best among The Western Dans, Zhang Lianguan of Taiyuan, Sanshouguan of Shaanxi, Mandong, Zhang Xi'er of Henan, Ge Wancui of Hebei, and others, who were also famous for their shocks.
It is precisely because the emerging opera art of zizi random play has attracted a wide audience, so even the yabu actors at that time, such as Wu Dabao, Shi Yaoqing, Zhang Faguan, Zheng Zaixing, and others, have also learned to play zi zi randomly. The Bohol Department was originally a Yabu team, and in order to win over the audience, it had to perform random bombs and martial arts plays, and after that, the Bohol Department was divided into two parts. According to the "Yanlan Xiao genealogy", "the list of zhuling is limited to Jia Wu", which is the thirty-ninth year of Qianlong (1774). The above facts illustrate the influence of The Hanabe's efforts in the 1870s, and even more explain the vigorous artistic vitality and broad mass base of the opera vocal cavity art based on the "two-sentence" composition structure of the Zizi rambling. During this period, the "Shanshan Zizi" set up class clubs in jinzhong and northern Jin, but there was a common feature, that is, to teach opera, it was necessary to ask puzhou or tongzhou teachers. Set up a science class to recruit Puzhou and Tongzhou dolls as the best policy. On the stage, it is necessary to pronounce "Pu Bai" and sing "Pu Lu" to maintain the unity of the artistic style of the birthplace of Zizi Opera.
According to my analysis, the performance wall of a play recorded by Comrade Wu Chengren on the wooden partition of the West Opera Stage in Huaiyin Village, Wutai County, "On the auspicious day of April 23 in Jiaqing of the Great Qing Dynasty, dongzhai Village, Wutai County, Taiyuan Province, Shanxi Province" actually belongs to the performance of "ShanShanzi" in various places during the class period. The so-called Shanshan Zizi, Shanxi Zizi, Qin Cavity and other names in this period are different, in fact, they are still several titles of a drama genre. In the repertoire and performance method, there are initially some regional schools of difference, because the recitation of white, singing voice emphasizes the puzhou, tongzhou, the triangle of the triangle of voice and other artistic norms, the difference between the genres is not large, it is very convenient to perform each other. Eighty years ago, in the late Qing Dynasty, the "Shanshan Zizi" flourished, with footprints throughout north China and parts of northwest China, northeast over Harbin, as far as Boli, south to Shanghai, and has a high reputation. At that time, there were five major theater gardens in Beijing, and the "Huale", "Guanghe", "Zhonghe" and "Sanqing" outside the front door were the main activity venues of Zizi Opera, and only the "auspiciousness" in the city was the solid position of Beijing Opera. The Beijing Opera Class cultivates talents, and until the training of Mei Lanfang's class of Fu Lian Cheng's class, it is still taught by the teacher of Zizi Opera and the teacher of Peking Opera. In the heyday of the late Qing Dynasty, until the beginning of the People's Republic, there were a large number of well-known and outstanding actors, such as Hou Junshan (Thirteen Dan), Guo Baochen (Yuan Erhong), Oil Cake Dan (Xi Lai Feng), Liu Liu Dan, Shi Lingzhi, Mao Mao Dan, and Liu Xikui, the apprentice of the Thirteen Dan and the first actress of the Zi Zi Opera, who was even more blue. Tan Xinpei was a famous Peking opera resident at that time, but as long as Liu Xikui was listed, Tan Xinpei would not play. Sometimes Mei Lanfang, Tan Xinpei and Liu Xikui perform on the same stage, and Liu Xikui sings the finale. These all marked the golden age of Zizi drama. Here are a few small episodes that identify the differentiation of the drama species of Zizi, that is, take the mingling thirteen dan (Hou Junshan) as an example. Some people say that he was born in Zhoubi Village, Hongdong County, Jinnan Province, and say that he is a Pu opera actor; others say that he entered a certain class in Taiyuan at the age of nine to study art, and gong zizi played Hua Dan, thinking that he was an actor on Shanxi Middle Road; some people emphasized that he performed in the countryside of northern Jin and Zhangjiakou for a period of time, and even after stacking boxes, he returned to jinbei to teach opera, that is, he thought he was an actor on Shanxi Northwest Road; others thought that he first performed in Zhangjiakou, and after becoming famous, he often operated near Beijing, and settled in Zhangyuan in his later years, that is, he also thought that he was a Hebei Zizi actor Some people also say that Hebei Zizi had always been known as Qin Lu before liberation, so it is believed that he may still be a Qin actor. It seems a bit like the legend of the Greek epic singer Homer. In his later years, Homer took turns performing in eight major cities, including Athens, and it was difficult to make a living, and after his death, he became famous because of the publication of famous poems such as "Iliad" and "Odyssey" that he sang. As a result, the eight major cities all argued that he was home of Homer. In fact, the "Shanshan Zizi" of this period, even in the territory of Shanxi, has not yet developed into a clear and clear four major zizi dramas, including the earlier and larger changes of the Shangdang Palace Tune, which is basically still the late stage of the ShanShanzi Zizi. Victor Records poured films during this period, still calling it "Shan Shan Zi". The fact that the Thirteen Dans can be performed in various places shows that the characteristics of the Shanshan Zizi have not yet completely diverged, not to mention that there are still objections to the issue of the birthplace of the Thirteen Dans.
Zizi opera was not produced according to the administrative divisions of the Ming and Qing dynasties, but was formed by the two-sentence vocal cavity structure of the exhortation book, rap music, puppet play, combined with the "timbre film" relationship of the dialect pronunciation of the Shanshan-Shaanxi-Yu Triangle. As its class grows and its circulation expands, it is also assimilated according to the "timbre" area of the new area of activity. In the former Shanxi Jinnan and Shaanxi Guanzhong areas, as well as in The Shaanxi Shaanzhou and Lingbao areas of Henan, due to the common affiliations and various convenient conditions in geography and transportation for a long period of history, this large area of dialect pronunciation, folk customs, and mass living habits have formed almost exactly the same characteristics, so that a two-sentence "Shanshan Tujue Opera" and "Zizi Opera" that are commonly liked and heard and novel and unique can be formed among the masses of the people in this area. Initially, the name of this kind of zizi opera was not named administrative division, it was a folk opera art appreciated by the working masses in this area, and its status in the eyes of the upper class was not high, so at first there was a saying that "earth opera cannot worship the gods".
The magic of theatrical art is not transferred by the will of the feudal ruling class, if the audience welcomes it, the class society will grow, run the rivers and lakes far, the class clubs going out everywhere are named regionally according to the region of the class master, just like the state zizi, Puzhou zizi, the actual river across the river, is still a form, even the practitioners are also arranging flowers in two places. Any sound cavity art, when it leaves the soil that produces it and has been circulated to other places for a long time, it is always inevitably subject to assimilation or variation in the new "timbre film" region, which is another form of expression that is constrained by the law of "timbre film". For example, when Wu'an luozi spread to the Shangdang area and took root and blossomed, it gradually became a Shangdang drop in accordance with the requirements of the people in the Shangdang area; when Pi Huang spread to Sichuan, it also became a "Huqin cavity" endowed with Sichuan characteristics. The "Shanshan Zizi" spread throughout Shanxi, and the dialect sounds, folk customs, folk music characteristics and the characteristics of the masses in the jinzhong, shangdang, and northern Jin regions formed by the timbre film characteristics formed by the masses are not only different from the southern Jinnan, but also different from each other. Therefore, the "Shanshan Zizi" was gradually assimilated in these sound film areas, and began to form regional schools such as the upper road tune, the middle road tune, the lower road tune (or the south road tune, the Xifu opera) and the Shangdang and Zezhou tones. In particular, after the Xinhai Revolution, the various prohibitions on folk opera in the feudal dynasty for a long time were broken, the trend of bourgeois reform was growing, and the bankruptcy of various feudal gang habits also affected the change of the ruling industry habits of artists in Puzhou and Tongzhou to rule the stage of Zizi opera, and were replaced by actors born and raised in various "timbre film" regions, although they also paid attention to the recitation of Pubai and sang Pu tunes, and in terms of vocal cavity art, they were actually unconsciously melted or assimilated according to the characteristics of their own "timbre film" regions. It can also be said that various regions are spontaneously transforming the vocal cavity of the zizi.
The "May Fourth" new cultural movement spread to the opera industry, and since the 1920s, "civilized drama" (instant costume play) has also appeared on the stage of Zizi Opera. Kun Ling's performances on stage have increased year by year, and the performances of men and women on the same stage have also promoted the sharp differentiation of regional genre imbalances, so that they have quickly transformed into several kinds of heroic and independent plays. The North Road Pole also evolved from this road. As the shanglu school of thought, it has existed for a long time, and it was really named the North Road Zizi by the Shanglu tuning among the masses, and it was also a matter before and after the War of Resistance Against Japan and liberation. The art of the North Road Zizi sound cavity formed by the evolution of the upper road tune of the mountain Shaanxi Zizi has its own distinctive characteristics in the development of the flower cavity and the use of the song card. Huqin adapted to its elevation, and it was also different from Zhonglu and Pu opera. When its musical personality is established, it is also related to its timbre range. "Sound film" has certain limitations. Shanglu Tun or North Road Zizi was first active in the north of Shiling Pass between Xinxian and Yangqu, up to Hoshi and Baotou in Inner Mongolia. Occasionally also go to the Zhangyuan of the East Exit, but not its main circulation range. This vocal cavity art not only has the commonality of Zizi opera, has its own personality, but also has certain limitations, especially in the past 40 or 50 years, it has formed two major genres of Great North Road and Small North Road. The so-called big and small north road here, it is understood that there is no sense of praise or disparagement, the so-called "big north" refers to the meaning of "the northernmost", "small north" refers to "near the north". North of Yanmen Pass to Inner Mongolia, the Sound Cavity of Dabei Road, represented by Wang Yushan (floating on the water), is characterized by the steady and deep cavity; the sound cavity of Xiaobei Road south of Yanmen Pass, represented by Jia Guilin (small electric lamp), is known for its lively and gorgeous cavity, euphemism and femininity, and the two major genres do have their own advantages. In addition, Hebei Weizhou is also a genre, there are some differences in the drama road, and the sound cavity has not yet formed a unique style.
Comrade Wang Zemin's collection and compilation of the North Road Zizi music is aimed at the eclectic singing style of the North Road and the eclecticism of the strengths of all, and at the same time, the unique North Road Zizi Blowing Music of Comrades such as The Famous Musician Hu Jinquan and other comrades of Xin Ding's drumming is also included. The book is divided into six chapters and fifty subsections, of which only one is the Wenchang Song Card, and a total of seven types of silk string song cards are collected, one hundred and sixty-three; twelve types of Song Tablets, one hundred and fifty-two, with a total of more than 300 song cards. Excerpts and complete singing voice excerpts from various genres and trades, including Wang Yushan, Jia Guilin, Gao Yugui, Kong Lizhen, Liangfeng (anon.), Zhou Chenggui, Song Yufen, Liu Mingshan, Li Dingguan, Guo Zhan'ao, An Bingqi, Liu Zhengfang, Da Da Dan (anon. Name) and other famous actors who can be collected, totaling 20 stages. The whole book is nearly 300,000 words, although it is impossible to be perfect, and it is indeed an important book to rescue and record the music of the North Road. The publication of this book may take some trouble, but I am touched by the internal printing of the first draft of this book, and I also pay tribute to Comrade Wang Zemin's artistic labor, because he has provided rich musical basic materials for the art of the North Road Zizi Sound Cavity.