Singing (Peking Opera) Peking Opera is a Pihuang system that absorbs and integrates the best elements of Kunqu Opera, Bangzi and other vocal cavities. It is composed of three parts: singing, percussion, and music cards. #
Peking Opera singing is mainly composed of "Erhuang" and "Xipi", so Peking Opera is also called "Pi Huang". The rhythm of "Erhuang" (Hui tune, southern vocal cavity) is soothing and steady, and the singing tone is more dignified and vigorous, mostly expressing depressed, sad and indignant, and passionate emotions. "Xipi" (Qin cavity, northern vocal cavity) rhythm is compact, undulating large, and the singing voice is brisk, smooth, bright and lively.
The genre singing created by actors and musicians on the basis of the tone of the drama has more practical significance for composition. In the traditional singing voice, Danjiao is mainly divided into four major schools: Mei School, Cheng School, Xun School, and Shang School.
The art of the "Mei School" founded by Mei Lanfang was first formed in the Peking Opera Dynasty and is an extremely far-reaching Peking Opera genre. Meipai speaks fluently, and the rhyme at the end of the word is moderate. The timbre is mellow, wide and sweet, bright, and the complex and simple singing is rarely small. The Cheng (Yanqiu) school is known for its unique vocalization, pronunciation, voice, moistening and other comprehensive skills, although Cheng is known for its graceful throat, but in the soft melody, it has a unique strong atmosphere, aggressive, and more infectious.
Shang (Xiaoyun) school singing pays attention to tackling tough problems, all of which are turned with real sound and real power, never slack, and at the same time, they use the change of the head of the board to break the fixed rhythm of the singing cavity and show the rich connotation of the singing cavity; Xun (Huisheng) school is full of drama, emphasizing the rhythm of life breath singing, emphasizing the ups and downs of lightness, suppression, fiction and reality, and Feiton, and the singing melody, emphasizing artistic conception and sincerity, especially the omission and use of freehand Italian style, which is more meaningful.