Chinese name: origin of tea songs: popular place in Beijing in the early Qing Dynasty: prosperous period in Beijing's urban areas and suburbs: singing structure in Qianlong period: six or eight-sentence songs. Words: Long and short sentences are representative tracks: the origin, artistic characteristics, performance form, vocal structure, famous musicians, works, inheritance and name of tea songs. At the beginning, tea songs mainly sang poems and songs, love affairs, talented people and beautiful women, fame and fortune, and sometimes they were sung as a triumph after the war. In the early stage of the development of tea songs, due to the weak story, they were mostly sung among literati and poets, and hardly flowed into ordinary people. The octagonal drum used in the fork has different opinions about the origin of the fork. One is that in the autumn of the thirty-sixth year of Qianlong, Emperor Qianlong sent troops to the frontier to quell the rebellion. After six years of fighting, the army finally won and returned to North Korea, and the Eight Banners sergeant "sang the golden cymbals and sang the song of victory" all the way. These triumphal legends were created by a man named Bao Xiaocha according to the high-pitched crisp white prevailing at that time. Later, Cha Xiao's homonym was called "Tea Fun". According to historical records, as early as the nomadic period outside the customs, Manchu people had the habit of entertaining themselves with octagonal drums. When Manchu entered the customs, there was a military song of octagonal drum sung in Manchu in the army. At that time, the soldiers who went to war returned home in triumph and were ordered to receive the "Dragon Seal" issued by the Ministry of Internal Affairs, and wrote and performed the "Winning Lyrics" inside and outside the flag camp. Later, the octagonal drum, like a gust of wind, blew from the suburbs of Beijing to the inner city and from the flag camp to the upper level of the imperial capital. It is said that when Emperor Qianlong heard that many courtiers were singing tea songs, he asked people to sing them for himself and encouraged the children of the Eight Banners to create tea songs. For a time, tea songs not only became an elegant art at that time, but also became an important part of Beijing's entertainment life. During the reign of Jiaqing Daoguang, Beijing people hardly knew the twists and turns. At the end of the Qing Dynasty and the beginning of the Republic of China, the social evolution intensified and the economic status of the children of the Eight Banners declined. Some fans went into the sea one after another and became professional artists. With the emergence of new cultural content, the audience of tea songs is getting less and less, and tea songs are declining. The artistic characteristics of early tea songs are not complicated, and the performance is simple. In addition to singing as a triumph after the war, poetry and songs, love affairs, talented people and beautiful women, fame and fortune are the main singing contents. The authors were all children of the Eight Banners literati at that time. Although they are interesting, they play very professionally. At that time, those standard-bearers would spend a lot of money to invite teachers and bands to show their art, so every aria of tea songs was a beautiful poem and sang very well. The earliest music was played and sung by myself. One doesn't have to play black boy with an octagonal drum. Later, for the convenience of performance, it was changed to accompaniment. The musical instruments used in tea songs are sanxian and octagonal drums, and each period of time does not exceed five or six minutes. There are six or eight sentences, so it is also called "six or eight sentences". Later, with the constant change of social and cultural environment, the content of tea songs was no longer limited to the word games of literati, but added many folk story plots, and the tunes were also divided into various forms such as flat tea, slow tea, starting tea, stacking tea, western tea and counting tea. There are three forms of performance, most of which are played by one person and sung with three strings (or without accompaniment); There are two people singing with octagonal drums; There is also a "group song" form of collective singing. Its basic vocal structure is a section of six or eight sentences, so it is also called "six or eight sentences", which is divided into two parts: the beginning and the end, with a gate in the middle. Zhang Yunhua sings cha-cha-cha with different lengths, and the small cha-cha is also called crisp cha-cha, which is short, pithy and numerous, and has the characteristics of crisp words, crisp cavity and crisp head. It sounds crisp, the rhythm is clear and the music is melodious.
One is to separate "the number of flat fork bands" from the small fork songs, that is, to insert several continuous embedded sentences of singing in the lyrics. When singing, Da Sanxian repeatedly plays 51615516153 to set off the content expressed in the lyrics. Small tea songs also have a kind of "initial bifurcation", with beautiful singing and many changes. Its characteristic is that the tune is sung with a long skateboard at the beginning, with melodious and balanced lines, slow and deep, ups and downs, patchwork and charm. Representative tracks include Sunset and so on.
There is also a "rhyme fork" in the small fork, which sings euphemistically and sweetly. Representative tracks include "Fear of Twilight" and so on.
Big tea song, also known as long tea, is a long string of embedded sentences connected by several boards embedded in the lyrics. When singing, the rhythm is lively, the aria is changeable, ups and downs, and it is done in one go, forming a unique charm of Beijing. Return to the Ship after the Storm is one of its representative tracks.
Tea Qu music is based on Quyi, minor and opera. The main tunes are Pingdiaoyun, Dangyun, Oriole, Shi Yun, Hard Book and so on. Moreover, many brands were inserted, most of which were used in the signature songs of Danxian, such as Nanluobei Drum, Luojiang Complaint, Matou Tune, Yinniu Temple and Yangko Tune. The basic aria structure of aria structure is a paragraph of six or eight sentences, so it is also called "six or eight sentences", which is divided into two parts: the beginning and the end, with a gate in the middle. A few words and signs can be added between the beginning and the end of the song, so that the length of a paragraph can be expanded to ten or dozens of sentences. There is only one sign in the middle, called "wear the heart"; If this brand is an oriole shop and a poem cloud book, it's called an oriole shop and a poem cloud book. If there are three brands in the middle of the curved head and the curved tail, at most four brands are called "waist section" (one is called "waist section"). The form of words in Tea Qu is long and short sentences, including seven sentences and four sentences, with small antitheses of five, seven and ten (that is, "number") embedded, and embedded characters and village characters added. Each lyric has six "doors", plus a prelude, a total of seven doors, with a "lying cow" in the middle. Dan Xian's performing arts (dictated by Tan Fengyuan) said: "Lying cow, also called lying depression, is actually a retrogression in tone, which can also be said to be overlapping. Many people like to listen to crooked cows. Lying cow is to cut a complete sentence into incomplete ones, sing the first word of the second half of the sentence first, and then play it over the door, giving people a suspense. Play the fifth door, then repeat (or not repeat) the words in front of the door, and then sing the following words. " For example, there are six short songs "Spring Scenery": "In spring, the river opens, the green willows come (enter the door), the pear blossoms bloom (enter the door), the peach blossoms bloom all over, and the buds are buried in the soil (enter the door). Farmers hoe (enter the door) to plow spring wheat, herders are outside the bamboo (lying cattle) bamboo forest, and fishermen cast nets in the middle of the river, waiting for that battle. According to Ye Yun of 13 track, every lyric rhymes to the end. In the long process of development, many composers and singers appeared after Bao Xiao Tea. During the Qianlong period, Yang Mi people's "Doumen Zhi Zhu Ci" said: "Tonglexuan is the happiest, and its axis does not fall in the sun; After playing the octagonal serial drum, a new class appeared in Ming and Qing Dynasties. "It can be seen that the performance of tea songs is prosperous, and the names of these actors who sing the axis are not named. After the rise of the immortal school, the famous singers Si Ruixuan and De Shoushan who sang the immortal school were also masters of singing tea songs. By the 1920s, only a dozen people were good at singing this kind of music, such as Qu, Wang Zhenxiu, Guang Shaoru and A Jianru. Later, only the arranger of Dan Xian sang a song after playing, tried the height of the stringed instrument and set a certain tone. Then, formally sing the brand music program of Danxian. The famous actors of Danxian, Rong, Tan Fengyuan and Cao, are all good at singing tea songs. There are also many tea song lovers in Beijing, who often have amateur parties and sing tea songs for many years. After the mid-1930s, a number of Dan fairy actors appeared, such as Wang, Shi Huiru, Xue Yanhua (played by Sima Jingmin), Shi Liancheng, Zhao, Gui, Lian and Xin. After the "Cultural Revolution", Liu Xiumei, Zhang Guoying, Chen Baoping and others were active on the stage of Quyi and also performed tea songs. There are a large number of traditional songs, which can be divided into six categories according to their contents. First, they describe the natural scenery and pastoral scenery of the four seasons, such as spring scenery, autumn scenery and walking in Xun Mei in the snow. Second, talented people and beautiful women express their feelings, such as "changing nepotism" and "fearing twilight"; Third, all kinds of praise and fu, such as praise, praise slips, Qingming fu, Qiusheng fu and so on. 4. Adapted from novels and drama stories, such as Fantasy, Xiaoxiang Pavilion and Copying Red; 5. Words used to describe scenery and games, such as "Talking about the wind but not revealing the wind", "The name of Qupai", "The name of a hundred plays", "Going home against the wind" and "praising the sword"; 6. Congratulatory messages, such as "Happy New Year", "Tri-happiness" and "Blessing and Longevity". In the 24th year of the Republic of China (1935), the Palace Museum published Chapters and Sentences of the Shengping Department.
After the founding of People's Republic of China (PRC), some new twists and turns were arranged. Among them, there was a man, the Red Army crossed the grassland, praising volunteers' heroes and fears. As a unique traditional art in Beijing, the inheritance of tea songs is really not easy. First of all, tea songs emphasize Beijing dialect and rhyme, and Beijing dialect is embellished from time to time. Tea songs reflect the local color of Beijing in many aspects such as language. With the disappearance of people who can speak Beijing dialect and Beijing dialect, it is difficult to find authentic descendants. In addition, there are not many inheritors who can be passed on from mouth to mouth. Secondly, there is a lack of good box office and publicity. The space for the survival and development of tea starter art is relatively closed. Part of the box office is remote and the publicity is not enough, so that the activities are limited to ticket lovers and folk art lovers. In addition, some folk box offices have been closed one after another, and some fans have lost their activity platforms. In addition, although tea songs are listed in the national intangible cultural heritage list, there are not many related works, so many people don't know this form of music. In fact, the art of tea songs is not only literary, but also musical and performative, and the characters of tea songs handed down are also quite rich, which is worthy of systematic research and arrangement by relevant departments. Relevant units and inheritors in Beijing have adopted many positive strategies. For example, the cultural center in Xicheng District of Beijing often organizes seminars on tea songs and invites experts to make suggestions. In addition, special performances are often held for inheritors Zhang Yunhua and Xi Wanying, hoping to find more bosom friends for tea songs.