Chapter VII Conclusion Discussion and Suggestions
1. Conclusion
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Figure 33 The development of Sichuan Qingyin performance in China (By ShaXin)
2. Summary of study results according to objective number 2 Table 3 The characteristic of Sichuan Qingyin performance in China
The growing period of Sichuan Qingyin (18 century)
The formation of Sichuan Qingyin was roughly in the early Qing Dynasty. "Huguang fills Sichuan" not only brought a lot of population, but also brought many excellent music history and culture. Sichuan Qingyin is the product of the integration of North and South cultures.
The mature period of Sichuan Qingyin (1870s-1940s)
From the late Qing Dynasty to the early years of the Republic of China, Sichuan Qingyin flourished. During this period, the performances of Sichuan Qingyin were very popular in the streets of Sichuan and Chongqing. The official name of Sichuan Qingyin was also fixed in this period.
The glorious period of Sichuan Qingyin (1949-1980s)
After the founding of the people's Republic of China, Sichuan Qingyin has made new development. Artists entered the official troupes established by the government, and their performance and life were guaranteed. The professional skills of artists have been improved, and the overall level of Sichuan Qingyin has also made a great leap. The government led repertoire arrangement has collected a large number of works. The venues and forms of Qingyin performances in Sichuan have undergone new changes, and relevant research work has also been carried out, which is of great significance to its transmission and preservation.
The recent situation in Sichuan Qingyin
With the changes of the times, Sichuan Qingyin is squeezed by other art forms, and the current situation is not optimistic. The number of transmitters, performances and the new works are reduced. These problems are very prominent, we need to study the corresponding countermeasures to avoid the disappearance of Sichuan Qingyin.
82 THE CHARACTERISTIC OF SICHUAN QINGYIN PERFORMANCE IN
CHINA CHARACTERISTICS
OF SICHUAN QINGYIN MUSIC
the structural principle
1) single form, the structure of single form is the simplest. It is similar to the form of stanza of folk songs. Because of its small and flexible scale, it is often used to express lyrical genres.
2) suite form, the structure of suite form is relatively larger. It is generally composed of multiple music, which is similar to the form of suite in western music.
Due to its complete structure and rich changes in music, it is often used in narrative works like ballade.
3) banqiang form, Banqiang c o m e s f r o m t h e c o n t e n t o f t r a d i t i o n a l o p e r a . T h e characteristic of banqiang is to form various banqiang through the change of speed and rhythm of the same Qupai.
PERFORMANCE OF SICHUAN QINGYIN
performance place in
the old era In the old times, there were many modes of performance of
Sichuan Qingyin. The important way of Sichuan Qingyin in its prosperous period was that artists performed in teahouses. The second is the performance in some other places.
current performance
mode 1) From sitting performance to
standing performance.
2) From standing performance to dancing performance
characteristics of singing Technology
1) sing in dialect. The language relationship between singing and lyrics in Sichuan Qingyin tunes is very close. The singing melody is basically consistent with the language tone. The melody is completely consistent with the tone trend of Sichuan dialect.
2) spoken parts and rhetorical parts. spoken parts is similar to
83 the words spoken in daily life and the dialogue lines in drama. Most of rhetorical parts are rhymes, but they are not accompanied by tunes and melodies.
3) decorative techniques of singing. The commonly used techniques are Ha ha tune and Alveolar trill.
The characteristics of accompaniment of Sichuan Qingyin
The instruments used by the performers are bamboo joint drum and Hardwood clappers.
The instruments used by the accompaniment group are mainly pipa, erhu and Ruan.
Sichuan Qingyin accompaniment group has a combination mode of 2 people, 3 people and multi person. Now, the mode of multi person ensemble is adopted.
The accompaniment techniques a r e s y n c h r o n o u s m o d e o f association and singing, Add accompaniment of decorative sound, Accompaniment mode with basic rhythm.
THE DIFFERENCE BETWEEN
SICHUAN QINGYIN IN SICHUAN AND CHONGQING
1)The “upper reaches style”
represented by Chengdu,
2 ) T h e “ m i d d l e r e a c h e s style”represented by Yibin and Luzhou
3)The “lower reaches style”
represented by Chongqing.
3. Summary of study results according to objective number 3
In this study, I have researched the impact and role of Sichuan Qingyin on society at different times. I have also researched the process of transmission, and the obstacles it encounters in contemporary times. I have proposed the following programs and recommendations.
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Table 4 The role, transmission process, obstruction and way to resolve of Sichuan Qingyin performance in China
THE ROLE, TRANSMISSION PROCESS, OBSTRUCTION AND WAY TO RESOLVE OF SICHUAN QINGYIN PERFORMANCE IN CHINA.
THE ROLE leisure and entertainment, aesthetic and artistic, cognitive and educational, connection and fusion, political, recorded, academic research
TRANSMISSION PROCESS Past transmission process, in a family- style troupe, the master teaches Sichuan Qingyin orally.
Contemporary transmission processes, school education and professional troupes to train purveyors.
OBSTRUCTION the lack of performance venues, the loss of audience, the obsolescence of works and the lack of transmitters.
WAY TO RESOLVE Changes in performance forms and work composition, expansion of performance venues, use of modern technology for communication, increased methods of training of transmitters, and government support.