<h1>The Grandmaster of the North Road Zizi Generation ---- "Little Electric Lamp" Jia Guilin</h1>
<h1>Wang Peibin</h1>
Inside and outside the Wild Goose Gate, the wild geese are dancing, autumn is coming and spring is coming, the will of all is a city, the integrity is noble, and the people admire. Jinge iron horses, Hu Di swallowed, and the continuous smoke condensed into a generous, heroic and tragic symphony, which reverberated in the windy landscape and water.
North Road Zi zi is a branch of the mountain Shaanxi Zizi, previously only called "shanglu opera" or "big drama", there is no correct name, can not explore, is connected with the blood of Hebei Zizi sisters, due to regional and local language influence, gradually there are differences in style and singing. Imagine that the Merchant Jia of the Ming Dynasty opened a market with the Mongols in the north of Saibei, and the merchants and artists went north to celebrate the performances to reward the gods and entertain the guests, "the drama is broadcast far away from the business, and the business is prosperous with the drama", which shows that commercial performances and singing are indispensable, and it has become the spiritual food for the ming and qing merchants to exchange business. The opera of the Zizi cavity began to flow north, after several generations of artists migrated north, gradually blended with the local musicians, and evolved into an impassioned and generous voice with the wind and bones of the saiwai and Yanzhao style on the basis of local small dramas, with its high pitch, silk string drum music, intimidating people's souls, striking heartstrings, and raising people's fighting spirit. "Strings of Cerro, worship the gods equally; the song plays with children, the gods do not come", the Zizi cavity gradually replaced the small drama of the Yingshen Saishe, and gradually grew stronger.
North Road Zizi, is one of the four major zizi in Shanxi, before the Republic of China, no matter what role, it was the era when male artists led the way, famous and singing styles were very different. By the middle of the last century, with the emergence of female artists, the opera stage began to play male and female actors, and the vocal cavity progressed and innovated. Jia Guilin, who is affectionately known as the "little electric lamp" by the people of northern Jin, is one of the outstanding representatives, the epoch-making artist of the North Road Zizi.
There is a saying in Xinzhou: "The people of Kunxian are asking the land, and the people of Xinxian are asking the drama", which means that the content of the chat when people meet. Indeed, when I was a child, when I went to school and passed by the street, there were people in the village who often sat there and talked about the dramas of Ding Guoxian, Niu Guiying, and "Little Electric Lamp", which was quite proud of satisfaction and made people feel envious. For the "small electric lamp" (Xinzhou people say that the small electric lamp has a slight voice) has always been just a legend, may have seen, but no impression. One year, Shanxi Daily published an article (which should be Teacher Wu Chengren) commemorating Jia Guilin, knowing that the "small electric lamp" was Jia Guilin, at that time there was not much concept and cognition of opera, did not know the difference between the middle road and the north road, just know that singing is a red-hot, there are many people, there are delicious, there are fun. Until later began to watch drama, mostly Jin opera, north road zi is not very familiar, with the increase of watching the play, the north road zi zi's moving music, passionate and generous singing, more and more have the inner like. The people of the five counties of the two states have feelings for the North Road Zizi, which grows in the bones and flows in the blood, and naturally has a sense of intimacy.
When I watched the drama in Taiyuan Drinking Mahe Park, I knew many fellow villagers and was more proud of the "small electric lamp" of the North Road. There was a Dingxiang teacher, with a thick accent along the river and Jiang Village, who told me about the "Four Great Kunlings" of the North Road Zizi, YumeiHong, La Lingdan, Fuyu Dan, Flower Girl, and "Ermeilan" Lei Yanyun, who was heard of for the first time in these histories. This information is not easy to find, I heard that there is a book of "Jia Guilin Commentary" compiled by Wu Chengren and Yu Lihua, introduced a lot of north road historical materials, on the Sina blog met Mr. Zhang Sizhi of the Xinfu District Government Secretariat, he often participated in some cultural activities, knew Mr. Yu Lihua of the Xinzhou Theatre Research Institute, he explained the situation to Mr. Yu Lihua, Mr. Yu gladly sent a copy. Take a closer look at it, and some of the historical materials on the development of the North Road Zizi in the Republic of China are interspersed with them, broadening their horizons.
Jia Guilin was born in Datong, studied art outside Saiwai, became famous in Daizhou, and achieved in Xinzhou, without her appearance, the North Road Zizi would be submerged in the long river of history. In the history of the development of opera in New China, there are not a few famous dramas, the most famous of which are Yan Fengying's Huangmei Opera, Xin Fengxia's Commentary, Yue Opera of the Ten Sisters of Yue Opera, and later Bai Shuxian and her Longjiang Opera. There is a big difference between the early singing voice of the North Road Zizi and the present, there are Yunzhou Road, Ulju Road, Daizhou Road, and there are regional differences in the singing style. To the generation of "Cloud Shade Moon" Liu Derong and "Jin Lanhong" Zhao Yuting is basically similar to the current singing method, which is not much different from the singing voice of the middle road at that time. People in Xinxian and Chengxian county all say: "Middle Road North Road does not separate families", the original artists in Northern Jinbei only have a lowering singing method on the middle road, and there is no major change in the singing voice. The existence of the "Three Female Red" Song Yufen records is enough to illustrate this point. In 1937, the Outbreak of the War of Resistance Against Japanese Aggression, during this period, Hebei Zizi and North Road Zizi were the same fate, the North Road Ban Society disappeared, some artists changed to singing The Middle Road Zizi, some threw themselves into the revolution, Zuoyun County First Class Society was absorbed by the Jinsui Border District, and also changed to singing the Middle Road.
Jia Guilin first followed Master Cheng Tai in Datong, and then transferred to Yang Sanwa, who took her to Guannan (Yanmen Guannei), which enabled her to develop her art by leaps and bounds. During this period, she studied hard and practiced diligently, turned to many teachers, learned the play path of Zhao Junqing of the "Eight Eight Mouths", and was taught the repertoire by "Lin Lin Ugly", absorbing the singing style of Guo Shouqing, "Guantang Hong" and "Two Winds". Fortunately, there are famous horns such as "Jinlan Hong", "Two Winds", "Flying on the Grass", "Sixteen Reds", "Laling", "Thirteen Reds", "Abacus Red" and other predecessors, and the singing skills have gradually grown, especially Laling's "Three Tones and Three Bends" is very famous in the North Road, which has a great reference effect on the development of Jia Guilin's singing voice. Because its two eyes are like lamps, the performance is expressive, and the electric lamps entered China soon after, which is undoubtedly brighter than "one lamp", "two lamps", "three lamps", "ten thousand lights", etc. These Chinese "oil lamps" are brighter (the North Road Zizi is high-pitched, clear, bright, and bright). The reputation of "small electric lamp" opened from here, although Yanmen Pass is a dangerous pass for generations, but for the North Road Zizi artists, Jinbei Ishi is their platform, whether it is the five counties of The Two Prefectures in the south of Yanmen Pass, or Datong, Guisui and Baotou, with frequent exchanges all year round.
When the War of Resistance Broke Out, the Japanese invasion of China swept away the class of The North Road Zizi, and Jia Guilin's opera class could not be carried out, so he had to live in seclusion in Zhangjiakou and live the life of a housewife. After the founding of New China, he came to Taiyuan to earn a living and became a sewing worker. In 1954, Jia Guilin returned to Visit Relatives in DaiDai County, and accidentally performed on stage, which caused a sensation, and people knew that "small electric lights" could also sing. Coinciding with the imminent performance of the first opera observation performance in Shanxi Province, the Xinxian Special District attaches great importance to it and invites Jia Guilin and the old artists of Beilu Zizi to regroup and go to the provincial city to participate in the performance. The impassioned singing voice of the North Road Zizi and the rhythm of three turns and nine turns have won the admiration of the leading experts in the provincial city, and Tian Han, the leader of the cultural department, personally instructed that this kind of drama should be restored. Since then, there has been the rebirth of the bath of the North Road Zizi, and only then has the title of the official drama genre. After returning to Xin, Comrade Guo Kaike organized the restoration of the North Road Zizi Troupe, and on February 10, 1955, the Second People's Jin Opera Troupe of xinxian Special District, the North Road Zizi Troupe, was formally established, and invited back the "Eight Hundred Pressure" An Bingqi, "Pingwang Hei" Zhang Yin, the "Nine Sons" Guo Yunlai, Bai Juxian, the "Six Six Ugly" Zhang Buqing, Li Yuemei and other famous artists, the famous drummer Hao Yutang, the famous violinist Tian Jingui, the talents were gathered, and the famous artists were reunited. During this period, the people of northern Jinbei heard music that had been moving for a long time, and the momentum of socialist construction was even stronger.
After the troupe was organized, Jia Guilin stepped up his practice, shouted his voice, studied hard, actively invited people to revise the script, and jointly pondered the reform of the singing voice. The essence of the previous generation of artists is melted and absorbed, and the singing voice has a new development, creating a unique singing style. From the early recording of "Counting Grain", it can be heard that Jia Guilin's singing voice is almost the same as the early middle road singing method, and it is different from the later singing method. In 1956, after the North Road Zizi went to the provincial city to report on the performance, he sang into the city of Beijing, and like the Shanshan Zizi in that year, it once again caused a sensation in the capital. Beijing Radio station has made a special program on opera recordings, major newspapers and media have published articles on the performance of Beilu Zizi, and experts and scholars in the capital's literary and art circles have formed a deep friendship with Beilu Zizi. During the Mid-Autumn Festival of the same year, he had the honor to walk into the Huairen Hall in Zhongnanhai and perform "Counting Grain" and "Visiting the White Robe" for party and state leaders and foreign friends, which were highly praised by the leaders.
In 1957, the second opera observation performance of Shanxi Province, the four major zizi restored their vitality, showing another peak of Shanxi opera since the founding of New China. Jia Guilin cooperated with Gao Yugui, Zhang Yin, An Bingqi, Li Yuemei, Zhang Buqing, etc., to perform the traditional play "Blood Handprint" of Beilu Zizi, which was the highlight of a strong singing performance by Beilu Zizi, which has been performed for a long time. At the same time, Jia Guilin and Ding Guoxian, Niu Guiying, Cheng Yuying, Liu Junying, Hua Yanjun, Wang Xiulan, Wu Wanzhi and other artists, learn from each other, especially the Peking Opera master Cheng Yanqiu personally guided the demonstration of water sleeve performance, and Mr. Mei Lanfang taught makeup experience, which benefited her a lot. After the Taiyuan performance, I went all the way north and came to the hinterland of the North Road Zizi to perform, and the villagers who had not heard of the North Road Zizi for many years, the people who bought tickets lined up in a long line. In Fengzhen Jia Guilin saw one of the "four kunlings" of the North Road Zi, the sisters recalled the old things, good not to sigh, the flower woman dedicated the twelve consecutive stage plays "Two Degrees of Plum", but also to learn from her well, resume singing the North Road Zizi. After coming to Baotou, he studied and exchanged with Wang Yushan, "Floating on the Water", Zhou Chengui of "Thirteen Reds", and Deng Youshan, "Renshou Hong", and then Baotou also restored the North Road Zizi Troupe, so that the team of North Road Zizi grew rapidly.
In 1959, Shanxi Province organized Shanxi literary and art groups to comfort the Fujian front, and Jia Guilin led the troupe members to get along well with other literary and art groups, learn from each other, and communicate with each other, which promoted the friendship between the drama genres. During his return to Hangzhou, the famous Peking opera artist Gai Mingtian watched Beilu Zizi's "Counting Grain" and "Visiting the White Robe", and sent a letter to the troupe through Vice Governor Deng Chumin, praising Jia Guilin's singing style and Dong Fu's extraordinary skills. During his stay in Shanghai, he was cared for by all walks of life, and specially produced records such as "Red Flag Fluttering on the Iron Battlefield", "Sichuan White Haired Girl", "High-Five", "Wangjiang Pavilion" and other singing segments, and shanghai radio still plays the recording of "Counting Grain" that year. During the period in Shanghai, when the leaders held a meeting, Peng Zhen and Bo Yibo were both from Shanxi and paid special attention to the troupe, and Peng Zhen instructed that it was necessary to do a good job in serving the troupe in order to better publicize the performance for the broad masses of the people. The relevant leaders of Shanxi immediately prepared for the Shanxi Experimental Theater and formed the six major performance groups for the performance into a unit, but later due to various reasons of the North Road Zizi and the Shangdang Zizi, the trip could not be carried out.
At the beginning of the 1960s, opera was booming, and many traditional plays were restored, and a number of modern plays were adapted and created, and the performance situation was very good. Beilu Zizi returned to the "mother's house" in Jinnan to perform, and was warmly welcomed by the people of Jinnan, and the Pu opera historian Mo Yiping led the students to follow the troupe to Wenxi to observe, looking for the Beilu Zizi to inherit the slow plate in the mother of Puzhou Zizi. Later, modern dramas arose in various places, and plays such as "Lei Feng", "Danfeng Chaoyang", "Fengyun Zhai", "Sister Jiang", "Mountain And Countryside Fengyun" and so on were rehearsed. In 1966, the storm suddenly changed, Jia Guilin changed from a beloved artist to a so-called "nonsense" problem, many people have seen her pull charcoal on the street, any dirty work, tired work, hard work are pressed to her, living a life without dignity.
In 1971, Jia Guilin was transferred to the Xinxian Teachers' College As a teacher, and although she stepped off the stage, she also undertook the burden of cultivating the successor talents of the North Road Zizi. In the summer of 1972, on the day when traditional drama was not restored, at the risk, kong Lizhen, one of the four kunlings of the North Road Zizi, was invited, and the "River Red" Qu Longfu, who was famous for learning to sing the old "Sixteen Reds" Jiao Shengyu, recorded the traditional singing section of the North Road Zizi behind closed doors. The "LuHua" sung by Jia Guilin and Kong Lizhen became the absolute sound of the North Road Zizi singing section. Kong Lizhen was a Kunsheng of the early North Road Zizi, participated in the revolution during the War of Resistance, took over the Yangquan Literary and Art Group when liberating Yangquan, and later served as the vice principal of the Taiyuan Opera School, never sang during the Taiyuan period, only when she returned to Jinbei she opened her mouth, once she led the young actors of the Taiyuan Experimental Troupe back to Dingxiang to perform, and sang the North Road Zizi "Luhua" with "Ermeilan", Guo Caiping played Min Loss, Liu Huilan played Yingge, and once again cooperated with Jia Guilin to record. When Jia Guilin went to Taiyuan for a meeting, he always had to go to Kong Lizhen's house, and the sisters were like a family.
Ten years have passed, and traditional drama has returned to the stage, at this time, Jia Guilin is nearly a flower armour, she was appointed as the head of the North Road Zizi Theater Troupe, rehearsed "Yangmen Female General", played She Taijun in the play. North Road Zi Zi Lao Dan originally starred as a male actor, and there is no Lao Dan singing voice to follow, she melted the Qingyi and Xusheng singing voices into it, absorbing the nasal resonance of the famous horn of the North Road Zizi "Old Sixteen Red" Jiao Shengyu, which is more lyrical and intriguing. Subsequently, plays such as "Wang Baojun", "Blood Handprint", and "Jinshui Bridge" were staged one after another, becoming the ace plays of Beilu Zizi. In 1978, she was appointed as the principal of the Xinxian branch of the Shanxi Provincial Opera School, and in 1979, she was elected as a member of the National Committee of the Chinese People's Political Consultative Conference, and when she returned to Xinxian from Beijing, she led a troupe to perform in Inner Mongolia. Because the local audience was too enthusiastic, she was re-elected as the third director of the Chinese Dramatists Association in the absence of the Fourth Wendai Conference.
In the 1980s, the North Road Zizi film, which could not be prepared due to the shortage of film, was put on the agenda again. This is the first film of Beilu Zizi, Jia Guilin and the whole troupe of actors, united as one, work together, and strive to show the characteristics of this drama, the original "Wang Baojun" was changed to "Jinshui Bridge". The film was filmed by the Central News Documentary Film Factory, with Jia Guilin as Princess Yinping, Li Wanlin as Tang Taizong, Wang Cuilan as Concubine Zhan, Bai Guicheng as Qin Ying, Zhai Xiao'an as Qin Huaiyu, Duan Genchang as Zhan Pei, Kang Guilan as Guotai, Sun Yiqing as Xu Maogong, and Dong Fu as Cheng Yaojin. The script is adapted from Wu Chengren, stage directors Wen Mingxuan and Yang Gengquan, and music designer Ke Huang, which concentrates the strength of North Road Zizi and becomes a milestone in the history of the development of North Road Zizi. During the filming in Beijing, he performed a short-term performance of "Jinshui Bridge" and "Sacrifice Pile", which were welcomed by people from all walks of life in Beijing, and the Indian ambassador to China and foreign friends also watched the performance. Historian Wu Xiaoling wrote a prose congratulatory song, and Hou Baolin praised "a thousand lamps, ten thousand lamps, not as good as small electric lamps", and dramatist Liu Naichong, Jiang Jianlan and his wife, wrote an article to evaluate and greatly praised. On July 29 of the same year, the Jinshui Bridge was performed in the Small Auditorium of the State Council in Zhongnanhai, where he was received by party and state leaders and took a group photo to commemorate the occasion.
In February 1982, Jia Guilin, Dong Fu and An Bingqi stage life commemorative activities were held in Xinzhou (then Xinxian County), and guests from all over the country celebrated the grand event of North Road Zizi. Leaders of cultural departments, representatives of the China Drama Association Zhang Junqiu and Liu Naichong, Liu Jiang and Liu Guanwen of the Propaganda Department of the Provincial CPC Committee, Jia Ke, Zhang Huan, Su Guang, Xia Hongfei, Liu Yuantong, and others of the Provincial Bureau of Culture, Wu Xiaoling, Hou Baolin, Hu Sha, Ma Yuan, Gong Hede, Yu Cong, Zhang Hui, Wang Jinlu, Yu Jianzhong, Liu Mingshan, Deng Youshan, Zhou Chengui, Shi Ding, Zhang Wanyi, Lu Keyi, and Wang Yifeng of the cultural circles. The sisters of the opera circle gathered together, and Guo Lanying and Hong Xuefei from Beijing, Kang Cuiling from Hohhot, Niu Guiying, Guo Fengying, Cheng Yuying, Hua Yanjun, Wang Xiulan, Wu Wanzhi, Hao Renzhi, and Ren Xiuyun from the province met again, and they were particularly affectionate. They are all artists who have been bullied in the old society, and now they are cared for and loved by the government and the people, how can it not be exciting. During the three days of activities, there were discussions, viewing exhibitions, everyone exchanged and learned from each other, and talked about art, Jia Guilin, Dong Fu, And An Bingqi presented them with the masterpiece "Wang Baojun". The Young Rookie of North Road Zizi made a debriefing performance, showing the momentum of continuous development of North Road Zi zi.
In order to cultivate the next generation of North Road Zizi, Jia Guilin spared no effort, in order to develop in an all-round way for the students, in addition to the original old artists of Xinzhou North Road Zizi, he also invited old artists from Inner Mongolia and others to return to North Road Zizi to tutor the students, such as "seven-year-old red" Ma Suqin, "Begonia Flower" Wang Xiuying, "Tiger Head Student" Wang Liande, etc. A batch of North Road rookies took the stage, and in 1987, the revitalization of north road zi was performed, and young actors stood out and became the backbone of north road zi. In 1992, when her students were participating in the Plum Blossom Award in Beijing, she left due to illness, and she was reborn for the North Road Zizi in her life, and fought for the North Road Zi zi all her life.
In the history of North Road Zizi, each artist has their own singing style, you have me, I have you, and they are integrated with each other. In terms of Xu Sheng, in the early days, "Thirteen Reds" Sun Peiting, "Lu Sanhong", "Jin Lanhong" Zhao Yuting, "Eighteen Reds" Ma Jinhu, "Ma Partridge Red" Zhang Guotian, to the later "Sixteen Reds" Jiao Shengyu, "Thirteen Reds" Cao Guangming, "Nine-Year-Old Red" Gao Yugui, "Seven-Year-Old Red" Gao Sangui, Ma Suqin, "Yumei Hong" Kong Lizhen, "Three Female Red" Song Yufen, "Thirteen Reds" Zhou Chengui, "Sacrifice Red" Deng Youshan, "Abacus Red" Li Dingguan, "Little Sixteen Red" Feng Jinquan and other predecessors, due to the sound area restrictions of male Susheng, We must shout out the "back palace tone", which is a kind of resonant sound behind the head, so there is no good voice, only by self-regulation, due to the high tone, the voice thickness of the upper and lower sentences is different, which is also one of the reasons why some people are not accustomed to the North Road Pole. In terms of Danjiao, there are many representative figures of the predecessors, such as Liu Derong, "Cloud Shade Moon", Gao Youfu of "Lingzhi Grass", Guo Shouqing of "Two Winds", "Eight Sound Box", "Little Thirteen Dan" Guo Zhan'ao, La Ling, "Fuyu Dan", "Floating on the Water" Wang Yushan, "Xiao Jinxi" Guo Xiuyun, "Cabbage Dan" Liu Zhenfang, Bai Juxian, etc. In the early days, most of them were male, and in the later stages, actresses gradually appeared, with different styles and colorful singing voices. Jia Guilin is to absorb the artistic characteristics of the predecessors, combined with their own characteristics, melting and absorbing in many aspects, forming their own unique style, her singing voice is clear, the words are in the ear, the sentences are emotional, the high voice is melodious and gentle, the bass is calm and atmospheric, and it has become a unique Qingyi genre of The North Road Zizi, and later Qingyi actors are mostly affected by it. Ren Jianhua, Wang Jinlian, Zhao Cuiying, Wu Tianfeng, Lang Meilian, Jia Fantao, etc., especially her daughter Wu Tianfeng, inherited her high-pitched and loud sound area, like Jia Guilin's rebirth and reappearance, Wu Tianfeng's singing performance has won the essence of Jia Guilin, which is gratifying, hoping to retain more video and audio-visual for future generations of artists to study and observe.
In the land of northern Jin, as long as the "small electric lamp" is mentioned, it is indeed a loud name, so that few people know her big name. There are Xinzhou, Dingxiang, Wutai people love to joke, saying that there are a few old men chatting together, some people say: "People "small electric lamp" but sing well", another said: "You quickly forget it, people Jia Guilin only sang the stick", he quarreled with each other, came over and said: "You don't even know, the small electric lamp is Jia Guilin, Jia Guilin is the small electric lamp, and said that this is good and that is good." It can be seen how big Jia Guilin's influence among the masses is, other places are not clear, in the Xinzhou area, as long as it is said that the village sings a play please "small electric lamp", no less than the current star chaser, the name is very big. At the end of the 1980s, our village sang the North Road Zi once, it was Sun Yiqing who led the group, Jia Guilin came to perform, usually singing opera is only ten miles and eight townships, once they heard that there was a play of "small electric lights", some people came to see the North Road Zizi from thirty or forty miles, and they only listened to the adults talk about it, the grand situation was unprecedented, "the name of the person, the shadow of the tree", it is really worthy of the name.
Singing plays pay attention to the right and round words, and local plays will have different pronunciation due to the influence of regions and dialects. It is necessary to maintain a beautiful tone, but also to pay attention to the clear pronunciation of words, there is a saying in the play line "unclear explanation, soft knife killing", which means that the audience cannot hear the actor's words, which is very uncomfortable. Before the founding of New China, singing opera had neither subtitles nor amplification equipment, and singing on the wild stage could reach as far as the audience could understand, which was not an easy task. Kunqu opera master Bai Yunsheng marveled at Jia Guilin's singing to eighteen beats, opera musician Dong Wenrun called Jia Guilin a "flower soprano", the voice is the actor's capital, as the saying goes: "Spike shoes by the palm, singing by the throat", Jia Guilin has such a talent.
In the history of the development of the North Road Zizi, there have been many famous people, and the singing style has its own advantages, and there are almost not many today. Jia Guilin's singing voice has become the mainstream Qingyi singing voice of Beilu Zizi, at least her singing voice has been passed down, although the singing method is different, most of them are used as masters. First of all, there are repertoire of substitute dramas, such as "Wang Baojun", "JinshuiQiao", "Li Sanniang", "Blood Handprint", "Visiting Wife", "Qin Xianglian" and so on. There are many inheritors, the mass foundation is good, and the learning to sing north road Zi Qingyi is also mostly in the style of Jia Guilin singing. Jia Guilin's singing voice is very Saibei style, as if the spit words also have a slight breath of the Jinbei accent earthy, but her spit words can be clearly sent to the ears of the listeners, the clear and penetrating voice, like an eagle hitting the long sky, geese rowing high mountains, circling in a roundabout way, staggered, singing cavity like clouds and flowing water, free and smooth, three times and nine turns. The flower cavity jumps and blooms, like the song and swallow of the warbler that crosses the ear, and the silver bell is as pleasant to the ear. Her singing voice sounds bright and clear, melodious and beautiful, like drinking a sweet spring, like a spring breeze; singing like a song, crying like a complaint, from the heart, refreshing. Listen to its sound, taste its taste, have a deep meaning, watch its performance, appreciate its play, and have extraordinary skills. The singing style gradually became unified, and the singing style of the disciples and students, the multi-sect Jia sect, and the North Road Zi Qingyi Fengjia sect was authentic. Shijia Pai singing style is a collection of the essence of the singing voice of the previous generations of artists, taking the high pitch of the voice, learning the excellence of other people's tones, collecting for my use, and promoting dacheng.
The times have developed, society has progressed, and the singing voice has also been innovated, and everything has changed. The development of art is to absorb the strengths of all, be inclusive and conform to the trend of the times on the basis of the previous generations of artists. Jia Guilin's singing voice art is also a unique style formed by this development, which has become an important milestone in the development of the singing voice of the North Road Zizi opera.