Introduction
Statement of the Problem
Research Objectives
Research Questions
The importance of research
Definition of Terms
Conceptual Framework
Literature Reviews
Historical summary of Western Fujian Han Opera
Based on relevant local historical materials, it discusses the history of the formation, development and maturity of the Western Fujian Han Opera. Western Fujian Han Opera (2017, local music expert in Fujian) is one of the intangible heritage "music" in Fujian Province.
Summary of the artistic style of Western Fujian Han Opera
Comparing the historical relationship between Guangdong Han Opera and Western Fujian Han Opera, Kang Baocheng pointed out that they are actually one kind of opera. Integrating the Clothing Culture of Western Fujian Han Opera into Art Class Teaching in Primary Schools.
Music score literature
Synopsis of Chen Yicheng's Western Fujian Han Contemporary Opera Transmission and Protection (Reflection on the Musical Creation of Western Fujian Han Contemporary Drama.
Summary of transmission and protection of Contemporary Western Fujian Han Opera
Liu Xueyan (Research and Reflection on the Transmission and Protection of Western Fujian Han Opera 2017) pointed out through field research that Western Fujian Han Opera has received strong support from government departments at all levels in recent years and achieved certain achievements in the protection and transmission of Western Fujian Han Opera. But the Western Fujian Han Opera is also influenced by many external factors in the development process.
Western music theory
Some people put forward the orientation of the West Fujian Han Opera to adapt to the demands of the new market environment and development, pointing out that the West Fujian Han Opera should undergo its own changes in function and nature by the background of a diversified market economy. Mastery of music theory is of great importance for composition, arrangement, conducting and performance.
Summary
This view comes mainly from the historical perspective of the origin and development of Han Opera in Western Fujian. Tihu is one of the four main parts of the Western Fujian Han Opera musical performance.
RESEARCH METHODS
Research Scope
The title of this paper is the research on the artistic style of Han Opera in western Fujian province. It is mainly spread in Yongding, Changting, Liancheng, Shanghang and Wuping counties of Hakkas in western Fujian.
Research Process
10 What changes have occurred in the performance of contemporary Han opera in Western Fedjian?. Western Fujian Han Opera is listed in the first group of national intangible cultural heritage list with the approval of the State Council. She has been active in the West Fujian Han Opera stage for more than ten years.
It embodies the characteristics of the times and promotes the spread and implementation of Western Fujian Han Opera in the local area. It embodies the characteristics of the times and promotes the spread and implementation of Western Fujian Han Opera in the local area.
The historical development of Han Opera in western Fujian, China
The artistics characteristics of Han Opera in western Fujian, China
Vocal music style
The aria of Western Fujian Han Opera includes a variety of tunes, but only xipi and erhuang form the record series. The dialogue and lyrics of Western Fujian Han Opera are based on Huguang dialect and Zhongzhou phonology. He can use the resonance of nose, forehead and hindbrain to get a clear voice, and his voice is clear and sweet. It has been widely praised by the audience in Western Fedjian and Eastern Guangdong for its combination of true and false voice.
The combination of true and false voice is loved by many audiences in western Fedjian and eastern Guangdong. Western Fujian Han Opera has a perfect performance program, a rich repertoire and close to the people.
Instrumental music stylel
The diameter of the gong is approximately 82 cm and is used to hang on the autocratic wooden frame. The musicians also differ in their ability to master and understand the music connotation of Han Opera. For the erhu aria of the three characters in the piece (one four beat with board and without eyes), the erhu voice part uses a regular accompaniment pattern in the orchestration.
In the second half of the bar, the non guton music repeatedly uses the bow to play a bright note (the bow hair is close to the string, and the wrist drives the fingers to elastically play the last eighth note). The sound representing the phrase and the tone is in the first half of the bar, and the accent is played with a push bow.
Costumes
When setting up the mode of the arc, the author divides it according to established sentences and pauses in the texts. This method of homeopathic bowing better reflects the feeling of the movement and pause of singing, as well as the beautiful structure of the musical form of Han opera. The trade-off mentioned above is the artistic image requirement and deposit deduction effect.
During the performance, we should try to understand the characters, design the costumes and determine the way of the performance from the perspective of the age of the characters and the situation of the performance. Especially in modern opera, performers simply can't apply the traditional business of dressing the way they play.
Dancing style
The Western Fujian Han Opera requires performers to act freely based on the following standards. First, sitting: the chair should be avoided, the body should be slightly inclined, not full of chairs, just sit on the edge, the body should be straight, the back should be straight, the elbows should be bent, and the eyes should look ahead. Second, standing: the waist, the body straight, heavy shoulders, standing should be stable, not soft, the action appearance should also be stable, not the meridian type station.
Third, walking: the body should be flat, the step should be stable, the breathing should be even, the step should be like the wind, and the step should be elegant. Fourth, fighting: it is required that the wrist is lightning fast when playing, and it must be light and easy to avoid when playing hard.
Performance process
In 2009, he won the performance award in the 24th Opera Performance Out of the Enclosure. The performance of Minxi Han Opera also has strict program requirements, which is one of the key elements of Minxi Han Opera. The theme music of the play is based on the integration and development of the two major melodies of Western Fujian Han Opera - Erhuang and 26 Crossing the Door in Xipi.
On May 20, 2006, the Western Fujian Han Opera was included in the first series of national list of intangible cultural heritage with the approval of the State Council. As for the protection of the West Fujian Han Opera, the lack of government support and professional guidance and supervision hindered the development of the West Fujian Han Opera. In 2010, with the support of the municipal government, we trained the transmission talents of Minxi Han Opera.
Fifth, it is useful to find out the difficulties and ways of development of Minxi Han Opera.
Ways to protect and transmit the Artistic characteristics of Han Opera in western
Due to the needs of social development, the Chinese government and scholars are paying more and more attention to the protection of intangible cultural heritage. Because Western Fujian Han opera is passed down by word of mouth, most performers have not received professional training, and many cannot be recorded and preserved. With the death of the older generation of performers, many traditional games cannot be preserved.
As the remnants of Chinese traditional folk music, Western Fujian Han Opera music is an important part of Chinese traditional music and influences the local people. However, the government does not pay enough attention to it and its publicity and popularization, which makes the protection of the Western Fujian Han Opera insufficient.
Transmission of Artistic characteristics of Han Opera in western Fujian
In just a few decades, the development of Minxi Han Opera has achieved remarkable achievements. It set the development of Han Opera in motion. The study of Minxi Han Opera is an in-depth excavation of the cultural resources of Minxi Hakka. It embodies the combination of the Western Fujian Han Opera and the local folk culture and language, creating a unique artistic style.
There are deep social and historical reasons for the emergence and spread of Han opera in Western Fujian. The charm of Western Fujian Han opera is that it fully reflects the charm of Chinese folk music.
Conclusion, Discussion, and Suggestions
Conclusion
The research shows that West Fujian Han opera is actually a unique local opera which is gradually formed by West Fujian Hakka dialect and local folk music. Therefore, it is believed that the understanding of the art of Western Fujian Han opera must be viewed from a historical perspective, in order to fully understand the face of Western Fujian Han opera. The development of traditional music in modern society is not optimistic, and even faces an endangered state.
How to continue traditional opera in social life, how to showcase its artistic charm in as many stage spaces as possible, and how to ensure the sustainable development of traditional opera is a problem that deserves attention and attention.
Discussion
It is extremely important to strengthen the understanding of folk music, improve the artistic quality of performance and further reveal the connotation of national culture. Based on the cornerstone of national folk music, this article very much summarizes the musical material. The performance art of Han opera in western Fujian needs to inject new blood, but we cannot give up the essence of Chinese opera art for thousands of years.
The wide spread of different forms and types of folk music is what makes its art accumulate a rich cultural heritage. At the same time, under the influence of modern branching music, it is necessary to continue to think about how to achieve the rapid development of our folk music today.
Suggestion
It should be researched from the perspective of social economic development and cultural development, which is a necessary research method. This requires us not only to master the traditional performance techniques, but also to renew their performance techniques, which is also a brave attempt to compete with contemporary music. On the historical relationship between the spread of Hunan Qi opera and Han opera in western Fujian, Chinese music (04), Pages 107-109.
Folk Social Background and Cultural Significance of Han Opera in Western Fujian, Journal of Xiamen University (PHILOSOPHY AND SOCIAL SCIENCES), (03), pages 133-140.
