Ming DynastySome people changed some tunes from the north of the Yuan Dynasty to tunes from the south, including opera and sanqu, and this kind of adaptation of the tunes is called"Turning the North Song".
"Turning the North Song". It is respected by composers in the Ming Dynasty"Yuan Song".It is also one of the ways for Southern Quyi to establish its own style.
"Turning the North Song" reflects the literary mood and ideas of the time, although it has been criticized, but it has also indirectly consolidated the classic status of Yuan Miscellaneous Opera and highlighted its original meaning.
"Turning the North Song". In the Ming Dynasty opera and opera circles, there are well-known"The Story of the South West Chamber" Cui Shipei, Li Rihua, Wang Ji "The Story of the South Chain", etc
However, inXu Fuzuo's "Theory of Songs" and Ling Yangchu's "Tan Qu Miscellaneous"., however, there have been cases of juxtaposed comments.
This suggests that there is already a sense of categorization when it is reviewed. For loose songs, the author to:"Quanming Sanqu".and based onFeng Menglong's "Taixia New Song".For the core, thinkThe composition in "Turning the North Song".is limited.
Among them:"Wujiang faction".Lord, such asShen Zhen, Shen Zhan, Bu Shichengetc,26 works by Shen Can, 14 of which are directly adapted; Shen Zhan's 8 works are all fromYuan DynastyAdapted.
It can be seen,"Turning the North Song". In the history of loose music in the Ming Dynasty, it was mainly rewritten, and on this basis, it was rewritten in a way that prominently reflected that the rewriting was a set of movements compiled by the Yuan people, and there was even a situation of adapting a movement.
Sui Shusen's "Quanyuan Sanqu".The total number of small reams and band songs included in the collectionMore than 3,800 songs, and this set onlyMore than 400 songs.
It's clear,"Turning the North Song". In the late Ming and early Qing dynasties, there was a relatively clear and relatively concentrated stylistic orientation in the prose world.
In terms of stylistic standards,Sanqu and opera also have similarities, both are a kind of concatenation of the word "qu".
So,In the Ming Dynasty, the "turning the north song" actually refers to a kind of song card style in the Yuan miscellaneous drama
This problem arises, with"Twisted Deck".It is closely related to the understanding of style and the practice of style.
In fact, at the end of the Ming Dynasty, ** writers often regarded "scatter" as "poetry" and "drama" as "drama" and contrasted themWang Jide in "Melody".Zhongyun:
"It's much more difficult to write essays. The legendary things are all made of special materials, scattered, and hollowed out. ”Feng Menglongin his prose poems"Taixia New Song".In the preface, the shortcomings of prose poetry in language, structure, and rhythm are pointed out.
Or the literary style is not good, but the literary style is flying, well-read, does not talk about the rules, only excerpts a few words, and shortens to make up for it, which is a common problem of mortals.
His thoughts andWang JideAll the same, all emphasized"Scattered play" is more difficult than "play"., but if you think about it carefully, there is a common logic behind his thoughts, that is"Nanqu".Co-starring is possible.
Judging from the traditional ** theory, this"Routine".The generation is due to:"Gong tune" to "song card."Guidance and constraints.
fromZhou Deqing's "Central Plains Rhyme" to Zhu Quan's "Taihe Zhengyin Spectrum"., the court system in the north** also shows the dominance of the official system. Regarding whether there is a palace tune system for southern music and whether there is a coherent general outline, composers have their own opinions.
For example:Zhu Yunming in "Lewd Talk".criticized Jiangnan opera"Slightly sonic and sonic again"., his"Tune".Yes"The ancient eighty-four palace tunes, the later seventeen palace tunes, and the eleventh house today, can't be in the middle of the main palace. ”
Xu Wei's "Narrative of Southern Words".pointed out that the southern drama"There is no palace tune, no rhyme, only some unreasonable peasant women and market women can sing their songs as they please. ”
Youyun:
"Southern repertoire, although there is no fixed repertoire, but the order of the repertoire is the order of the notes, between each note, is corresponding, can not be mixed, for example, after "Huang Ying", it is "Cong Yuling", after "Thrush", it is "Falling Flowers", each capital is a fixed order, the lyricist can refer to these tracks, and then follow these tracks to do. ”
Shen Can is compiling the "Thirteen Tunes of the Southern Nine Palaces".At that time, one of the important tasks was to reorganize the palace tune system of Nanqu and use it"Epilogue".The coherence of Nanqu is affirmed and emphasized.
AlthoughShen Cancreated"Centennial Palace"., not created by himself, but based onJiajingtimesJiang Xiaowritten"The Thirteen Tunes of the South Nine Palaces"., although the Chiang family also has a much older foundation.
However, from the analysis of his overall music and composition techniques, we can determine that he found the most crucial support from the creation of Beiqu.
And later, the comment of a ** master also confirmed our speculation.
For example:Shen Defu, he saidShen Xuan:
"Every time I compose lyrics, I must follow the classics of "Central Plains Rhyme" and "Taihe Zhengyin", in order to compete with the Jin people and the Yuan Dynasty. ”During the Kangxi reign of the Qing Dynasty,Wang Zhengxiang once worked in "The New Twelve Laws of Beijing Cavity Spectrum"., it is noted
"The word hidden in the Nine Palaces, which is inconclusive, was stolen from the tune of the Beiqu Palace, and was forcibly ranked first, and it was disorganized. ”
But they didn't know it"Beiqu Palace Tune"., originally from the side door.
From the point of view of traditional music studies, compared with the southern song, the palace tune system of the northern song is more rigorous, so it is a natural thing for the song card to be combined.
However, the tune of Nanqu Palace is disorganized, therefore,It is necessary to redefine the combination of music cards to determine its attribution to the palace tune, and then lay the foundation for the combination.
According to"Quanming Sanqu".These sanqu accounted for 17 of the total number of sanqu in the southern part of the Ming Dynasty99%, most of them are musicians after Jiajing and Longqing.
And according to"Quanming Sanqu".In the works of the Ming Dynasty sanqu artists, the proportion of "sanqu style" also far exceeds that of "small order style". There are also researchers who believe that:
"The appearance of Nansanqu was originally a literati thing, but from the day it appeared, its nature no longer belonged to **, but mainly belonged to one of the categories of literature. ”This statement may be a bit extreme, but it can also be said that the popularity of the joint set is becauseThe scholars and doctors of the middle and late Ming Dynasty were "deliberately curious".The reason is more, because they regard Beiqu as a model that can be learned and imitated.
So, although the musicians of the late Ming Dynasty are not right"Nanqu"., it can be said that there are different opinions, but when they come to it"Nanqu".'s creative techniques, however, are mainly literary.
Quyi of the Ming Dynasty"Respect the body".Roughly speaking, it started with the development of the north, and then affected the southern song, and through the comparison with the north, the role and significance of the south were determined.
The production of "Turning the North Song" reflects the exemplary significance of Yuan Qu to the creation of Ming Qu from another aspect, and also provides an example for the establishment of genre models such as softness and beauty in southern opera.
"Turning the North Song". There is a certain experimentation in the genre, although it isLi Rihuaof"The Legend of the South and West Chambers".has achieved a relatively good performance effect, and there isShen Caoand other leading figures of the music school.
However, judging from the overall trend of Ming and Qing quxue, the voices of criticism and negation are still relatively large, and even have a great influence on the views of contemporary literati.
In terms of quantity,"Turning the North Song". It is only a minority in the southern music scene of the Ming DynastyWhy has it attracted fierce criticism from both ancient and modern music circles? This phenomenon is obviously closely related to the ** asana theory of "ancestors are the mainstay".
There is a ** creation of the Yuan period,It has formed an aesthetic style with "true color" and "dangxing" as "Shang".
However, since the middle of the Ming Dynasty, the northern song has gradually declined, and the southern song has gradually moved forward"Appreciation of elegance and vulgarity".In addition, the literati at that time were dabbled in, so that the text of quyi works gradually detached from the quyi of the Yuan Dynasty, showing a "clear and beautiful" style.
It is an extremely common cultural phenomenon to make judgments from the top to the bottom, emphasizing the past over the presentCoupled with the idea of "ancient style" in the poetry at that time, "Yuanren Beiqu" soon became an art form, the drama is like this, and the prose is also like this.
InDuring the Jialong period, is the gathering of the seven sons, Shang Huami, is in the vein of Wu Yin, and wants to destroy it.
In"Inspection".Medium,"True colors".It is not uncommon to say, and with"Dang Xing".The theory is entangled, although the Ming Dynasty is right"Dangxing" and "True Colors".The understanding is different, but they all have the same thing in common"Yuanren Old Song".Subject matter of this category.
"Yuanren Old Song".Keep it up"When it does" and "true colors".The tradition is not only a kind of historiography construction of the literati of the Ming Dynasty to the Yuan people, but also right"Present song".A regulation that typifies aesthetic characteristics.
Therefore, the significance of the Ming Dynasty Yuefu literature is mainly placed in"Yuan Song".This classic is in sight.
In modern times,The critical attitude towards "Ming opera", especially the Ming Dynasty sanqu, is further consistent with the literary and historical view of "winning from generation to generation", and has formed a dominant viewpoint in literary and historical writing.
For example:Wang Guowei, his evaluation of the Yuan Dynasty ** is:
"After the Ming Dynasty, there is nothing commendable anymore, the Yuan Dynasty ** is a living literature, and the Ming Dynasty ** is a dead thing. ”Zheng ZhenduoInHistory of Chinese Popular LiteratureZhongyun:In the second stage of Yuan Miscellaneous Opera, sanqu became the toy of scholars, and it was the same kind of fluid as poetry and lyrics, and it gradually moved away from the public. ”
By the end of the Yuan Dynasty and the beginning of the Ming Dynasty,Liu Dongsheng, Jia Zhongming, Tang ShengminThe emergence of others has brought a new vitality to the music world, but it has also brought this force to a dead end, which can never be recovered.
Their talents and learnings are all dead. His style is not new, and his imagination is clumsy, but he has stolen some common clichés from his poetry.
It's hard to tell the writing style of each author.
Ren Zhongmin in "Introduction to Loose Songs".Medium,"Yang Yuan suppresses the Ming, respects the north and humbles the south".'s position is even clearer, so much so that Liang Chenyu and other southern sanqu "are subordinate to Song, and Song is despised by them; Meta cookie shame! ”
"Turning the North Song". The production of the fusion of the two major schools of the Ming and Qing dynasties, especially at the end of the Qing Dynasty"Shangqing".Under the impact of literary and artistic trends, can it?Will the characteristics of the Yuan Dynasty's "true colors" and "slang" be used as an aesthetic yardstick for judging the creation of "Turning the North Song"?
In general,Yuanren Beiqu likes to express emotions with "vulgar", witty and brisk wordsIn the middle and late Ming Dynasty, due to the identity of the composer, the living environment and the pre-set readership, the language tended to be "elegant".
In this sense,"Turning the North Song". Although the number is limited, the concentration of the theme and the convergence of genres reflect the attempt of a group of scholars led by Shen Chen to establish a genre model that is different from the southern opera in the north.
Again, it should be emphasized here"Turning the North Song" is also a retro trend in Ming Dynasty music studies.
"Reproduction" not only means the impact on traditional culture, but also means the reaffirmation of traditional culture.
The Ming Dynasty's "Turning the North Song" reflected the literary and artistic tastes of the people at that time, although it was later criticized, but it also laid the classics of the Yuan Dynasty from the side, and has great reference value.