For any local drama genre, the "singing" in the "Four Skills and Five Laws" is the most important artistic means, and the image of music and art established through singing is also the most noteworthy, and many scholars in this seminar studied Ren Jianhui's singing art. In his keynote speech "A Preliminary Study of Ren Jianhui's Record Songs", Mr. Ip Sai Hung, Program Director of Radio Television Hong Kong, deeply analyzed Ren Jianhui's record songs, and analyzed Ren Jianhui's record music from its quantity, genre and quality. Radio Television Hong Kong's collection of Chinese records is the highest in Southeast Asia, and the cantonese opera collection (including Works by Ren Jianhui) ranks first in the world. Ren Jianhui sang the cavity has commented that it is refreshing, clear, crisp, clean and neat, no mud and water, natural and not artificial, the luck of the cavity is natural, casual. Whether it is the seven-character clear, the reverse line of the middle plate, the knurled flower, the southern tone, the small song all sing clearly into the ear, singing to the sad place, more true feelings, choking sound is only this family, poignant and moving. Singing more agitated fast board, the next sentence of the knurl is also fiery and powerful, aggressive, and listening to the recording alone has felt that she is full of drama.
Dr. Zhu Shaozhang, Senior Lecturer of the Language Center of Baptist University, wrote his thesis "Still Sound and Shadow Dream of Ren Jianhui - From the Stage Recording of "Zi Chao" to The Art of Ren Jianhui", using the stage recording of the XianfengMing Troupe 'Zi Chao Ji" (1968) as the main material, with Ren Jianhui as the investigation center, trying to analyze the characteristics of Ren Jianhui's opera on the stage such as style, rhythm, mouth and improvisation through comparative analysis; and thus reflecting the value and role of stage recording/video recording in the study of Cantonese opera art. The record version is a "purifying" version, and the record can be ripped and re-recorded or technically spliced, and the improvisation element will be minimized. However, due to the state of the actor on the spot and the various environmental variables of the scene, the actor's performance on the stage is often mixed with some improvisational elements. From the first-hand heavy information of stage performance art, in-depth research on Cantonese opera stage performance art can be carried out.
Dr. Tai Shu Yin, Visiting Assistant Professor of the Department of Music, Chinese University of Hong Kong, in her thesis "The Art of Ren Jianhui's Singing Voice: Comparison of the Three Versions of Stage Recordings, Recordings and Opera Films of the Purple Book", further analyzed the art of singing voice performed by Ren Jianhui in this classic famous drama.
Dr. Dai Shuyin's other dissertation, "Traditional Reconstruction: Looking at ren jianhui singing art from the reverse line plate of "Emperor Girl Flower"", tried to understand the evolution of the reverse line plate in Cantonese opera music from the literature, explained the source flow and development of the reverse line board from a historical perspective, and concentrated on analyzing the reverse line plate of Ren Jianhui singing Cantonese opera "Emperor Girl Flower", examining various changes, including singing cavity, accompaniment music, and the combination of words, etc., thus deeply exploring the art of Ren Jianhui's singing voice. Ren Jianhui absorbs the strengths of different genres, and then integrates his own interpretation methods to establish his own personal style. She pronounces the words very clearly and accurately, and at the same time uses the jingle board flexibly when singing, such as dropping the word before the ding early and the ding-line cavity at the bottom, which is creative. Moreover, the "Imperial Daughter Flower" written by Tang Disheng has elegant lyrics and neat structure, bringing the structure of Chinese Tang poetry and Song poetry to Cantonese opera, developing into a singing structure of "five words" or "seven words", creating the "elegance" of Cantonese opera music, and further becoming one of the characteristics of "Ren Cavity".
The paper "The Relationship between Cantonese Opera and Cantonese Pronunciation: Taking Ren Jianhui's Singing Segment as an Example" by Mr. Wang Shengkun, a well-known and well-rounded master in cantonese opera and music art, and Dr. Cheung Qun-hsien, Associate Professor of the Department of Chinese and Bilingualism at the Hong Kong Polytechnic University, is that Ren Jianhui's singing voice is particularly suitable as an example to illustrate the relationship between Cantonese opera and Cantonese pronunciation.
Dr. Lee Shao-eun, a scholar of Cantonese opera music in Hong Kong, relived the Cantonese opera film "Da Hong Pao" (1965) adapted from "Ten Yan Song" starring Ren Jianhui, who was born in Xiaowu, through his lecture title "Ten Songs of Yan Song": Ren Jianhui's Artistic Exhibition and the Significance of Cantonese Opera Inheritance, and from this repertoire, he recounted that Ren Jianhui in the most mature period of acting, single-handedly picked the beams, performed in literary and martial arts, broke through stereotypes, and reshaped his personal style.
Dr. Zhong Libin, a lecturer at the School of Music of South China Normal University, wrote his thesis "A Brief Discussion on ren Jianhui Cantonese opera genre singing art", which describes the process of "Ren Cavity" from learning accumulation to maturity and then reaching its peak, and its profound influence on the development of female literary and martial arts singing art today.