Wu Mei's study of the Pipa and the significance of the dissemination of opera classics

As the ancestor of Southern Opera, "Pipa Ji" has important exemplary significance in the history of the development of Ming and Qing opera notation, whether as a classic case in the compilation of Southern Opera scores or as a typical representative of opera creation texts, it has a major impact on the rhythm and text form of Ming and Qing opera. Wu Mei takes "Pipa Ji" as the object of study, thinks about the macro issues of opera history such as desk and field, north-south score objections, ancient and modern music score changes, and songwriting interaction in the music score, and deeply explains the exemplary nature of "Pipa" and its value to the development of opera style, and its research is of great significance to the contemporary dissemination of the classic famous drama "Pipa".

On the basis of the study of traditional Chinese opera, Wu Mei felt that "the way of filling in words is lacking, so that the talents of all ages want to seek a law and cannot get it." Therefore, the Zong "West Chamber" is flattering and self-congratulatory; the Zong "Pipa" is simple and self-exalted, and the sub-palace is matched, the position of the horns, the settlement of the pomp and circumstance, and the entrustment of the various workers, and its Benefits are not outstanding", and said that "although there are two books of "Zhongyuan Yin Rhyme" and "Nine Palace Song Notation", it is also for the use of the desk, it is not enough for the field of resources", so that the ten years (1921 to 1931) "Brief Spectrum of North and South Words", "want to establish a certain rule, guide the way for students". In the "Self-Introduction", he said that he exerted his strength and the greatness of his heart, "devoted his life to his own mental strength, and the only thing he achieved was this." On the eve of Wu Mei's death in the spring of 1939, he entrusted the manuscript to his disciple Lu Qian, and instructed: "Go to the books published in the street, and listen to their self-destruction, but the "North and South Scores" are necessary for those who cure the music, and this must be paid for. Wang Jisi, a disciple of Wu Mei, recalled: "The ten volumes of the "Simplified Notation of Northern and Southern Words" alone, Mr. Nai devoted his life to summarizing the musical scores of various families since the beginning of the Ming Dynasty, widely quoting Jinyuan miscellaneous dramas, scattered songs, and Ming and Qing legends, and comparing, summarizing, analyzing, and dredging works. Mr. Li is the most self-conscious in his daily life, and he has no resistance in the world. It can be seen that the "Brief Spectrum of Northern and Southern Words" has poured wu Mei's great efforts and is the most valued work in his life. This score is characterized by "conciseness and clarity", and it is expected to have guiding significance for future learning in terms of reading, making and degree of music. "Simplified Notation" selected a total of 880 of the most representative Nanqu qu tablets, most of which are famous songs that have a certain influence in literary history or are often sung on the stage, of which 69 are "Pipa Notes", and each song card has an explanatory text after each song, in addition to explaining the difficulties of the old song, it also explains the composition, sentence addition, plate style, head, singing method, etc. In these explanatory texts, there are 29 song cards exemplified by the "Pipa Record", that is, the "Northern and Southern Word Simplified Score" quotes 98 "Pipa Notes" song cards.

Looking back at the history of the development of Ming and Qing opera, the song and Yuan classic plays represented by the "Pipa Record" have always been the first choice for musical notation, such as Jiang Xiao's "Old Compilation of the Southern Nine Palace Notations" during the Ming Jiajing period, the first to open the first compilation of the Southern Qu music score, a total of 503 example songs, of which the "Pipa Record" accounted for 70 songs, after that, during the Wanli period, Shen Jing's "Complete Score of Southern Qu", Xu Yu room in the late Ming and early Qing Dynasties, Niu Shaoya's "Nanqu Nine Palaces Zhengshi" in the "Pipa Record" has always accounted for a very high proportion, "If the filler wants to set the number appropriately, the brand name is symmetrical, it is advisable to take the legend since the Yuanming Dynasty. Scattered song imitates it. The so-called school teachers should choose the best of the legends and scattered songs, such as "Pipa"." On the basis of the research results of classical music scores, and taking the "Pipa Book" as an example, the "Simplified Notation" has errata, freeze-framed and doubted the compositional rhythm, clarified the difficult problems that have been endlessly disputed in the history of opera, put forward the problems that need to be further examined, strengthened the classicity of the "Pipa Record" song and card, and provided a specific and operable path for the modern and contemporary dissemination of the melody of the classical famous drama "Pipa".

As Ming Hu Yinglin said: "The Pipa is specially created. (Hu Yinglin's "Comparison of pipa records and Xi Xiang records") In the opening of the second chapter of the "Pipa Record", Gao Ming Ziyun "does not seek the number of palaces", but its rhythm tune has always existed in the history of the development of Ming and Qing opera in an exemplary posture, during the Jiajing period, Wei Liangfu discussed the sound rhythm, examined the "Pipa Record" plate style, and made water mill tones, "Three hundred in the past, do not bow your head and bow your ears, and worship it as a gagaku." (Wu Mei's "Selected Songs from the Preface") Lü Tiancheng listed the "Pipa Book" as a "divine product" in the "Qu Pin": "The height of its words is extremely high, and the plot is realistic in the set, the color is realistic, and there is the magic of luck and jin into the wind." The string is very close to the innings, bittersweet and wrong, and the genre is specific. You can teach the law, and you don't have to argue with the people. (Lü Tiancheng's "Qu Pin") The artistic creation of the "Pipa Record" "Can Be Teacher and Method" has always been admired by composers. Wu Mei concluded in the "Songs of the Sumatha Room": "Since Gao Dongjia's "Pipa Record", the name of the southern song has been determined... However, its whole work is considered to be authentic, and dare not blaspheme it. ”

"The score has a fixed frame, the sentence has a fixed form, and the word has a fixed sound" is the basic requirement for the compilation of the music score, Wu Mei on the one hand pointed out the first score format created by the "Pipa Record", on the other hand, took the "Pipa Record" as evidence to determine the correct grid of the song plate. After detailed examination, Wu Mei pointed out the southern song score format pioneered by the "Pipa Record", and there are "Bubujiao" music plates in the double tones of the northern and southern songs, and the changes between them start from the "Pipa Record". The "Brief Notation of Northern and Southern Words" quotes the example song composed by The Sanqu Composer of the Southern Qu: "The pavilion is heavy with the east wind, and only the jade orchid buds are small. Weeping yang gold powder disappeared, green river bridge, swallows just arrived, the heart of the eyebrows, hate people return no earlier than spring return. Zhu Yun: "This tune must be used in the first one, the gift board must be used, and the rhyme must be used to go to the phase." Where in the southern song, the upper sound word is the most important to pay attention to, the whole branch of the four rhymes, and the three words of 'Xiao', 'Small' and 'Early' are all pronounced, and the tone is restored. The two sentences of 'Green Ying River Bridge' are actually seven characters, from the "Pipa" cloud: 'Ask him where his family lives', so they are all four-character sentence two. And the example song of the Northern Song [Bubujiao] of the "Northern and Southern Words" is: "Remembering Xiao Lang's homelessness, he slammed his teeth against it, sighed emptyly, and heard the jade outside the door." Turning to wonder, it turned out that the bird was crying in pieces. The commentary compares the southern and northern songs, Yun: "This reality is no different from the southern song, but the southern song 'empty sigh' sentence is five characters, the 'listening to the middle door' sentence is eight characters, and the 'turning doubt' sentence is five characters." However, the fine press plate type can also be used as a lining, that is, from the north word also. Wu Mei believes that [Bubujiao] originated from the Northern Qu, and the change originated from the "Pipa Record", Zheng Qian's "New Score of the Northern Qu" Yun: "The Southern Qu also has this meaning, much the same. Its main difference is the fourth sentence of the northern song seven characters, the southern song becomes two four-word sentences. Mr. Yang Dong believes that Wu Mei said: "The theory of Xun Wei." (Yang Dong's "Archaeological Research on the Origin of Yuanqu") and other music cards such as "Tail Offender Sequence", "Lion Sequence", "Wangge'er", "Yi Duojiao", "Zhu Yingtai" and other song cards, "Pipa Record" has been created.

While explaining the classicity of the Pipa, Mr. Wu Mei also recognized some of the rhythms and melodies of the Pipa and explained and corrected them. From the perspective of historical development, considering the fact that there was no rhyme to observe at that time, it was believed that such mistakes in the late Yuan and early Ming dynasties should also be "forgiven with peace of mind", but today people must pay attention to it: "Gao Zecheng's "Pipa Record" also has errors, the branch time is not separated from the fish model, the Coro and the family hemp are used together, and they claim to disdain the number of tones in the palace, but in fact, the scholars after the mistake are huge. In the ancients, it was still prevaricatory. At that time, the lyricist, who was more or less in the rhythm of the music, and had no rhyme to obey, nor lacked the rhythm of the song to keep, empty fists and bare hands, as if they had become the platform of the Seven Treasures, that is, there were mistakes, and they should be forgiven with peace of mind. He said in the "Pipa Book of Reading Songs": "Yu Du said that there are many good points in the record, and there are many places where the clumsy and blunt rhymes are mixed, so he only recorded five folds, such as "Chen Qing" and "Appreciation of Lotus", the whole body is not called, and the love is cut." And in [Guizhixiang] ("Healing Jealousy Soup") "The soul is not false, and the word can be passed on for a long time." If you don't believe in the ground, you can give birth to the cloud after the song: "This tune rhymes best, and the feeling is slightly dull." Where two or four of these tones are used, long and short beats can be used, and the text is the most compact. The sentence 'Linchuan tears' is used as ping ping ping. "Pipa Appreciation Lotus" folds the clouds: "One drum after another, think of returning to the crane." 'Stop using the plain servants, and finally don't listen to it beautifully.' ”

In modern times, the study of opera has begun to enter the university lecture hall, attracting a large number of researchers to pay attention to the development of opera, among them, Wu Mei is indispensable, he combines literature examination with the teaching of opera practice, the criticism of opera theory and the performance of opera stage, "sets the score for the singer, establishes the right bird for the writer", writes concise and concise opera textbooks such as "Introduction to Chinese Opera", "Gu Qu Dust Talk", "Brief Notation of Northern and Southern Words", etc., making important contributions to the inheritance and construction of modern opera cultural traditions. As a classic of opera, the Book of Pipa has become the object of modern opera research and teaching. Wu Mei took the "Pipa Book" as a model, fixed the asana style of the music score, dialectically defined the norms of opera works and opera scores, explained the long-standing difficult problems such as the source flow of north-south songs and the interaction of songs and songs in the history of opera, "not only the norms of the song field, but also the rules of the Wenyuan Garden". Wu Mei's study of the Pipa Has promoted the modern dissemination and acceptance of opera classics, and promoted the development of modern opera theory and stage practice.

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