What local operas are there in Tianjin?

Overview of Tianjin Quyi Music Development

A good environment for the emergence and development of Quyi music-the relationship between the population characteristics of Tianjin before the founding of the People's Republic of China and Quyi music-the music development mechanism centered on actors and choirs-the music of Tianjin Quyi in Qing Dynasty-the music of Tianjin Quyi during the reign of Beiyang Warlords-the music of Tianjin Quyi during the reign of Kuomintang-War of Resistance against Japanese Aggression and the music of Tianjin Quyi during the War of Liberation-the development of Tianjin industry and commerce after the founding of the People's Republic of China-the relationship between People's Republic of China (PRC) population growth and Tianjin Quyi music- Organized and planned drum music development mechanism centered on music designers-Tianjin Quyi music before the Cultural Revolution-Tianjin Quyi music during the Cultural Revolution-Tianjin Quyi music after the Cultural Revolution-Tianjin Quyi music's diversity-Tianjin Quyi music's openness-Tianjin Quyi music-various schools.

Tianjin is located in the northeast of North China Plain, bordering Bohai Sea in the east and Yanshan Mountain in the north, where Ziya River, Daqing River, Yongding River, South Canal and North Canal join Haihe River and flow into Bohai Sea. It is the gateway to Beijing, an important port for maritime transportation in northern China, and a transportation hub connecting North China, East China, Northeast China, Northwest China, Central South China and North China. Because of this special geographical position, it has become the economic center of northern China.

As a city, its history is not long. During the Jin, Yuan and Ming Dynasties, it was only a water transport hub and a military fortress. In order to shield Beijing and protect grain transportation, Jin established Zhigu Village here. Yuan changed Zhigu Village to Haijin Town; Wei Jiancheng was named Tianjin in the Ming Dynasty.

During the Yongzheng period of the Qing Dynasty, it was originally Tianjin Prefecture, and later changed to Tianjin Prefecture, which belongs to Zhili Province. The government is located in Tianjin county, with the original state boundary as the county boundary. 19 13 (two years of the Republic of China). 1928 (Republic of China 17), Tianjin special city was established in the central area of Tianjin county, directly under the national government; Tianjin County is subordinate to Hebei Province (1934 65438+ 10, with Tianjin County as the four townships). 1930 (19th year of the Republic of China) In June, Tianjin Special City was renamed Tianjin and placed under the Executive Yuan; In June of the same year 165438+ 10, it was changed to a provincial city and became the capital of Hebei. 1935 (24 years of the Republic of China), the provincial capital moved to Baoding, and Tianjin was returned to the Executive Yuan. During the War of Resistance against Japanese Aggression period, the Japanese puppet government changed its name to Tianjin Special City, and its original name was restored after the victory. After the establishment of People's Republic of China (PRC), it was a municipality directly under the central government, except from February 65438 to1February 967, which was once the provincial capital.

The administrative divisions of Tianjin have been adjusted many times. The lowest is limited to urban areas, and the highest includes urban areas, Tanggu, Hangu and suburbs, as well as Wuqing, Jinghai, Huanghua, Cangxian, Yanshan, Baxian, Ningjin, Wuqiao, Jiaohe, xian county, Hejian and Renqiu 12 counties. At present, Tianjin's jurisdiction includes: six central cities such as Heping, Hexi, Hebei, Hedong, Nankai and Hongqiao, three coastal cities such as Tanggu, Hangu and Beidagang, four suburbs such as eastern suburbs, southern suburbs, western suburbs and northern suburbs, and five counties such as Jixian, Wuqing, Ninghe, Jinghai and Baodi. It covers an area of about eleven thousand square kilometers.

As a city, although the history of Tianjin is not long, its commercial prosperity began in the Yuan Dynasty. "When the ration ship arrived in zhi gu, the streets became more and more crowded with black tickets." This tanker carries not only grain but also goods. Houjiahe Juyi Street has become the most prosperous place in Tianjin at that time. In the Ming Dynasty, with the development of river-sea traffic, Tianjin's commercial trade became increasingly prosperous and became a commodity distribution center in northern China. The area along the river outside the east and north gates of the old city has become a commercial center in the middle of Ming Dynasty. During the Ming and Qing Dynasties, Tianjin's prosperity has been like (Kangxi) "Tianjin Wei Zhi? The preface says: "Tianjin is more than 200 miles from Shenjing. At the time of the north-south rush, tens of thousands of water roads traveled south here to learn about the Taoist scriptures, the places where ships came, the places where merchants gathered, and the places where the people of the five parties were mixed ... Although it was named Wei, it was beyond the reach of the metropolis. " Over the past 300 years, Tianjin has become increasingly prosperous, especially after the opening of the port, and has developed more rapidly, gradually becoming a world-famous industrial and commercial city.

As a transportation hub, economic center of North China, developed industrial and commercial city and prosperous metropolis, Tianjin provides a good social environment for the emergence and development of Quyi music.

First, Tianjin Quyi music before the founding of the People's Republic of China

As a popular performing art, generally speaking, the development of Tianjin Quyi music is directly proportional to Tianjin's social stability, economic prosperity and population growth.

Speaking of population, it must be pointed out that the economic structure of old China and the development of population urbanization made a large number of male-dominated agricultural population flow into Tianjin one by one. As a result, the gender ratio of Tianjin citizens is seriously unbalanced. For example: 1903- 1905 (Guangxu 29-3 1), the sex ratio of Tianjin residents is 150: 26, 150: 95, 15: 95. In order to kill leisure time, a large number of male citizens flock to entertainment places, and the low ticket prices and flexible performance methods of Quyi are very attractive to them. Their artistic hobby was an important driving force for the development of Tianjin Quyi music before the founding of the People's Republic of China.

At that time, in order to make a living, the competition between actors was fierce. The referee who wins or loses the game is mainly the audience. Therefore, actors pay great attention to adjusting their vocals according to the audience's feedback, and maintain and develop their own popular vocals. As a result, various schools and even new types of music have emerged, forming a development mechanism of Quyi music centered on actors and choirs.

Due to historical reasons, Tianjin Quyi music did not exist before the Qing Dynasty. The development process of Tianjin Quyi music before the founding of the People's Republic of China can be roughly divided into the following stages.

1, Tianjin Quyi Music in Qing Dynasty

Judging from the materials currently available, the earliest recorded form of Quyi in the Qing Dynasty was probably playing Lianxiang. The sixty-ninth poem of "The Miscellaneous Poems of Jinmen" in the tomb says: "If you have a son, you don't need to learn from your teacher. Juqi only sings and plays with children. Qing people, the three winds are particularly heavy, and their hearts are abandoned. " There is a note after the poem: "Jinyi is the son of man, everyone learns to sing couplets, and one plays with children." New cases are banned and gradually become guangling. "The poem" Tianjin Miscellaneous Work "began in the early years of Qianlong (AD 1736) and was published in the fourth year of Qianlong (AD 1739). At that time, due to the "new ban", it has gradually become Guangling San. This shows that before Qianlong, at least during the Yongzheng period, there was a folk music form of playing lotus fragrance in Tianjin, and the "son of Tianjin" made a living by it.

This point is also illustrated by the book "The Continuation of Nishang" published in Beijing in the 60th year of Qianlong (A.D. 1795). There are 622 folk songs in "The Music of Nishang", with a total of 30 tunes: western tune, tea tune, horsehead tune, cutting indigo flower, overlapping money, Huangli tune, Yugou tune, chopping jade, playing Huang Tiao, Beihe tune, anti-tune, parasitic grass, Yangzhou tune, Lijin tune, Pan Xiang tune, border tune and so on. The composer is Yan Zide. The king who ordered the shanzhai said, "The composer of Yanqu Poetry in Sanhe Hall is also from Kinmen. Young workers learn by rote and find someone to write everything they learn. This year, they are over 70 years old. I found a batch of books in the book, and I don't care myself. It is good for the public and the public. " Obviously, these are all ditties sung during the Qianlong period. What was sung in Qianlong period is not necessarily made in Qianlong period. Yan Zide's "Young workers learn by rote, and his school has found someone to write this book, which has been over 70 this year". If he began to learn music in his teens, then there must be some minor songs sung before the first year of Qianlong's reign, that is to say, there are tunes made or sung during Yongzheng or even Kangxi's reign.

Because Yan Zide is from Tianjin, and Beijing and Tianjin are not far apart, and the transportation is convenient, many of these ditties have to be sung in Tianjin. "Waist Festival" and "My family lives in Yangliuqing" embody this point.

[Pingcha] My family lives in Yangliuqing. (White: Yes, I do.) I live by the Yu He River. I hired slaves in Liu Du. What do you mean? It is also fate that makes me miserable. Oh, my God, it's time. ) [Liu Du tune] One drum is more than two drums. Liu Du's life pointed to this and taught me to push the distillation column (Luqi). I'm really sorry. Think about the life of slaves, think about the life of slaves, torn up and down. I don't know what to do. Until that day, I was knitting pu mats every day. My husband has been away for more than two or three months and has only come back now. I was so anxious that I stamped my feet. [Cha Wei] My husband pulled short fibers and never came back. Zuo nu's house is deserted and lonely. (Bai: I think it's also because my parents didn't have an idea at the moment, alas! ) I believe in the matchmaker!

This song not only reflects the life of a young woman who was married by Yang Liuqing to a lonely worker in Tianjin, but also uses the words "rags" and "self" in Tianjin dialect. Obviously, it originated in Tianjin. This shows that there was a folk music form of Chaqu in Tianjin at that time. In addition, the tune "Liu Du Tune" inserted in it, as the name implies, is a kind of ditty produced in Liu Du, Tianjin.

"Birthday for the Eight Immortals", which was performed at the "Emperor's Conference" in Tianjin, is also a folk music sung by Qianlong before. Originally known as the "Queen's Club", the Imperial Parliament began during the reign of Emperor Kangxi. The so-called queen is the legendary sea god Maureen. In the Yuan Dynasty, she was named by the imperial court as "protecting the country, protecting the spirit, helping the mountains and helping Tian Fei", and built the "Tian Fei Temple" in Tianjin (known as Haijin Town in history) to pray for her and keep the trough safe. In the 23rd year of Emperor Kangxi of Qing Dynasty (A.D. 1684), Jin named her the "Queen of Tianhou Palace" and changed the Princess Palace to "Tianhou Palace". Whether it is Tianfei Palace or Tianhou Palace, it is commonly known as Niangniang Palace. The so-called Niangniang Festival is the temple fair of Niangniang Palace, which is "God gives a hundred plays to reward". On one occasion, Gan Long went down to the south of the Yangtze River and passed through Tianjin, which coincided with the meeting. Appreciate it after appreciating it. The four drummers in the village temple "Moon Valley" each got a yellow coat, and the four crane boy "He Ling" each got a gold collar and two dragon flags. Since then, the Queen's Club has been renamed the Emperor's Club. The Royal Club will perform "Hundred Dramas", including dance, music, acrobatics, martial arts and folk arts. Celebrating the birthday of the Eight Immortals is a form of Quyi: "Thirteen-and fourteen-year-old children dress up as various roles of the Eight Immortals Middle School, stand on stilts, don't practice, and only sing suona birthday songs". The "Eight Immortals Old Society in the Southeast Corner" performing this program was "also established before Qianlong of the Qing Dynasty".

There are many records about the form of Tianjin Quyi in Jiaqing period in Wenyu.

In the first year of Jiaqing (A.D. 1796), Yang Wuguai wrote The Emperor's Editorial. When talking about various artistic forms of imperial society, he thinks that "the lotus flower falls, it is not ugly" and "justice is free from people's hearts, and Hou family is not idle".

In the twenty-third year of Jiaqing (A.D. 18 18), there are such poems in Jinmen Shi Hua: "Sing a string of beautiful children", "Play an absurd story with a mallet skin" and "A orchestral tune swings, and ten gongs and drums play a clear sound". Author Fan Binyi Tian Yun: "Those who don't apply powder are famous children's classes. Nine rings, ditty name. " "Beat the skin and drum to sing, which is called mallet skin". "Dangzi song quoted softly, touching. Ten voiceless songs, two in the middle, not bad. "In other words," Golden Gate Poem "recorded the forms of Quyi music, such as Nine Rings, Drumming, Swinging and Voicing.

With the increasing prosperity of the city, the population of Tianjin is also increasing gradually. After the opening of the port, the growth was particularly rapid. According to the statistics of Garbo's Illustration in Tianjin compiled and published in the 26th year of Daoguang (AD 1846), there were more than 440,000 people in Tianjin at that time. Among them, there are more than 95 thousand people in the city; There are nearly 200,000 people in Chengguan District. By the Sino-Japanese War of 1894-1895, the population of Tianjin County had increased to nearly 570,000, which was nearly 25% higher than that during the Opium War. After 12, the population of Tianjin urban area, four towns and concessions increased to more than 800,000. Among them, there are more than 384,000 people in the four townships; More than 356,000 people in cities and towns; There are 6 1 1,700 China residents and 6,300 foreign residents in the concession. Compared with the Sino-Japanese War, it increased by more than 220,000 people. In 60 years, the number has nearly doubled.

In order to meet the needs of the rapidly increasing urban population, various entertainment activities developed rapidly, and various rap arts flowed into Tianjin from Hebei, Shandong, Beijing, Jiangnan and other places on an unprecedented scale along Ziya River, Daqing River, Yongding River, South Canal and North Canal, forming the obvious historical characteristics of Tianjin Quyi music in this period. As the population of Tianjin increased after the middle of Qing Dynasty, most of them came from rural areas in Hebei, Shandong, Henan, Shanxi and other places, and all kinds of folk music in the north were particularly popular. Xu Cui's poem "Little Half" in the Qing Dynasty said: "The helmet resounds with beads, and the sound turns to the juvenile style of study. Recently, the ditty spread to the north, and the feast won a scream. " To some extent, this reflects the popularity of "moving northward" and people's preference for it.

According to incomplete statistics, the forms of Quyi music that flowed into Tianjin from other places in the late Qing Dynasty included Fengyang ancient paintings, Lotus Falls, dozens of cloth, Zidishu, octagonal drum, Heizaiben, Dangdiao, Tan Chun, Kuaiben, Wooden drum, Pinggu drum, Meihua drum (Beibangu drum), Lihua drum, Xihe drum (which was not named at that time), Laha drum, Xihe drum and so on.

In order to adapt to the appreciation interest of Tianjin audience, most of them have been improved to varying degrees, especially those folk music forms from rural areas, which still maintain relatively strong characteristics of folk literature and art: lively, flexible, not conservative, good at learning from and brave in absorbing. Although rough, it is full of vitality. Among them, through the efforts of Hu Shi, Huo and others, the wooden drum developed into the Jingyun Drum (also known as the Wei Tune Drum or the Beijing Tune Drum). On this basis, Zhang formed his own unique style: Tianjin dialect is the main pronunciation, his singing is simple and vigorous, and his songs are realistic and loud. When Yun Xi Children's Book was sung in Tianjin dialect, the ups and downs of the tune became Wei's book. Shi Yukun's phonology has been transformed and developed into a Xicheng board with distinctive Tianjin characteristics.

At the same time, the original backing tone and mandarin duck tone were produced. After the transformation, Laha and Qiewu also have strong Tianjin characteristics. As the main melody of Tianjin time tune, their formation and reform marked the birth of Tianjin time tune (named after the founding of People's Republic of China (PRC)). Gao and Qin Cuihong were the most famous singers at that time. Gao reformed the accent and changed the end of the fourth sentence to the door, thus changing its shortcomings of procrastination and discouragement, making the singing full, pronouncing loud and full of charm; In melody and rhythm, she also used ups and downs instead of dullness and monotony, and for the first time adopted the method of concave-convex moistening cavity. Qin Cuihong, on the other hand, pushed back singing to a peak with his outstanding talent and superb skills of moistening the cavity. Her voice is round and deep, with a wide range, full of strength, clear articulation, strong Tianjin flavor, rough and bold songs and quite masculine beauty.

2. Tianjin Quyi Music in the Period of Northern Warlords (1912 ~1928.6).

The development of Tianjin Quyi music in this period can be roughly divided into two stages.

In the early period of this period, social life was relatively stable. During the First World War (1914-1918), because the imperialist countries in Europe and America were too busy with the war to look east, they temporarily relaxed their economic aggression against China, which led to the rapid development of our national industry, especially in Tianjin. Before the war, Tianjin's national industry developed slowly, and both the number of factories and mines and the total capital fell behind Shanghai, Wuhan and Guangzhou. By 1925, Tianjin has not only become the center of cotton spinning, flour, matches and chemical industry in northern China, but also become the second largest industrial city in China after Shanghai. The development of national industry has promoted the prosperity of commerce and provided sufficient conditions for the development of Tianjin Quyi music.

Iron drum, plum drum, funny drum-a kind of Jingyun drum, and two important schools of Danxian, He (quality minister) school and Rong (sword dust) school, flowed into Tianjin.

Great achievements have been made in the reform of Jingyun Drum. Liu Baoquan has initially formed his own singing genre: he prefers Hebei and Tianjin dialects to Beijing dialect, and his singing is simple, straightforward, gorgeous and graceful. His voice is round and bright, sweet and crisp, with ups and downs, rich and varied timbre, and he is good at rendering the atmosphere with high notes. His talk is singing, singing is talking, and the combination of rap and singing is very mellow. The white school rhyme drum was also formed at this time. Bai Yunpeng's singing is dominated by nonstandard Beijing dialect. His singing is simple and delicate, rich and euphemistic, and his recitation is full of feminine beauty.

Tianjin's time tune has also developed by leaps and bounds. Monophonic tunes such as Falling Foot (such as Stepmother Beating Children) and Falling Five (such as Sad Autumn in Qin Lou) appeared one after another. Yuanyang tune has become a new Yuanyang tune with complex tunes and slow rhythm.

In the later period of this period, warlords scuffled and the war remained the same: Tianjin was a strategic location for two direct wars. 1April, 922, Feng Jun occupied Tianjin; At the beginning of May of the same year, Feng Jun was defeated, retreated, and went straight for Tianjin Wei; 1924165438+10, the directly affiliated army was defeated and the army entered Tianjin; 1925 65438+ in February, the national army drove Feng Jun out of Tientsin; 1in March, 926, the Lulian army invaded Tianjin again; 1June, 928, warlord Yan Xishan took control of Tianjin.

The warlords' scuffle dealt a severe blow to Tianjin's industry and commerce. Two wars of direct service each time interrupted the Jinghan Railway in Jinpu for several months, resulting in "shrinking import trade"; Export trade is also greatly affected by "traffic jam". Domestic trade is even more bleak, and the market is depressed.

After several wars in Tianjin, social life is extremely unstable. The army often intrudes into houses and harasses people. Defeated soldiers often ransack shops and insult women. Rogues and gangsters fish in troubled waters. Martial law is often enforced in the concession. People have taken refuge, and refugees from counties in eastern Hebei have come to Tianjin. "Tianjin residents have fled to the concession." During the period of 1924- 1928, the population of Tianjin surged from 750,000 to1380,000, almost doubling. Warlords also extort money and plunder property in the name of planned pay. They even issued a large number of military tickets, treasury bills and other banknotes, and the direct-Shandong Coalition forces had indiscriminately issued military tickets of 6,543,800 yuan.

For the above reasons, Tianjin people have a hard life. Take the winter of 1924 as an example: "middle-class families" have no money to buy coal for heating, so the whole family has to sit around the quilt when it is cold. "The monthly demand for rice, flour and vegetables has dropped to the lowest level, barely enough." The lives of ordinary working people can be imagined.

These can't help but affect the business of the juggling garden. 1924165438+1October, "Most of the crowded Beihai Building and Beiyang Shopping Mall have no customers all day." Beihai Lou Tea House and Beiyang Tea House, which are located on the third floor of Beihai Lou and Beiyang Shopping Mall respectively, naturally have no juggling performances. 1June, 928, "Most of the seats in the theater were occupied by soldiers. Soldiers don't spend money, and those who wear symbols usually sit in it. You ask them for money, not to mention an institution, which is a headquarters. " This naturally greatly affected the development of Tianjin Quyi music.

However, due to the rapid population growth, the number of Quyi audiences has not decreased. Generally speaking, they maintained the reed industry in the variety garden and the prosperity of performances in Ming and Qing Dynasties. In this context, Tiegu and Xihe drums developed their own vocals.

Wang conquered the audience with his intelligent talent and unique style and became the representative of the iron drum. Her timbre is crisp and pleasant; The bite space is clear and powerful, and it is often used for flashing, pulling and grabbing. The rhythm is lively and changeable, and I love lining cloth. When moistening the cavity, use the sliding sound. Therefore, the singing was euphemistic, gentle and charming, smart and funny, and was dubbed "vinegar drum" by people at that time.

Xihe Drum Zhao School has also begun to take shape. Zhao Yufeng is good at rap and bunt, wearing a robe and holding a big book. He abandoned Hebei dialect, changed to Beijing dialect, absorbed some tunes of Jingyun Drum, and formed his own singing method, focusing on the second board and the third board, trying not to sing the slow-paced and long-voiced head board; According to their own voice conditions, they tend to sing high and low notes, put lines in Heizi's class and add doors between sentences to set off their singing. He speaks clearly and forcefully, with a clear rhythm, short and comfortable.

In addition, during this period, Liu Baoquan completed his reform, and the Beijing Rhyme Drum of Liu School has reached a perfect state through continuous improvement.

3. Tianjin Quyi Music in Kuomintang Period (1928.7 ~ 1937.7).

Tianjin Quyi music reached its peak in this period.

Tianjin has formed two new forms of Quyi. Zhai Qingshan created a single piano drum based on minor, with dulcimer as the main accompaniment instrument (later Qin Shu and Qin Shu). After Liu Wenbin and others sang in Baodi dialect in the early stage, Pinggu tune was transformed into JD.COM drum by combining some falling melodies.

Some foreign Quyi music forms continue to flow into Tianjin, such as Henan pendant, Liaoning drum, Shandong piano book and so on. Among them, Henan pendant and Liaoning drum have reached a new peak in Tianjin.

1928, Qiao Qingxiu came to Tianjin, made great efforts to learn short paragraphs, and specially sought a job in singing. She transformed the aria at the beginning of the pendant with the coloratura of pear flower drum, created a fresh and lively "opening aria", and enriched the Pingju aria of the pendant with flexible techniques. In arias, such as Feng Yiting, Trial in Three Chapters, Lin Ying by Han Xiangzi, Butterfly Jun by Baochai, etc. , each paragraph of Pingju and Du Zi have their own characteristics; She has extensively absorbed the things of Beijing Rhyme Drum, Beijing Opera, folk songs and pop songs, and turned them into pendants, constantly injecting fresh blood into the pendant music. She enunciates beautifully with a bright and elegant accent, paying special attention to the use of high notes, midrange and inflections. Her voice is famous for its purity and sweetness.

Zhu Xizhen first reformed the "beginning" for the shortcomings of euphemistic lingering and crisp voice of Liaoning drum. She changed "eight big mouths" (eight big sentences) from slow and long to fast and short, and changed the drawling of the seventh and eighth sentences into new "four big mouths" or "six big mouths". Therefore, from "big mouth sentence" to "small mouth tone", there is no longer a lengthy transition. Secondly, she changed the "small mouth tune" and "running water board" accordingly. The original aria not only has obvious traces of broken sentences, but also uses the high-pitched and low-pitched singing method of "one mouthful soup" to make her singing melodious and lively. Thirdly, she changed the singing speed from 70 beats per minute to 104 beats per minute, sweeping away the past depression and boredom. Fourth, pronounce words according to Beijing pronunciation, distinguish lip sounds from tooth sounds, learn to deal with light flat sounds, make up for the defects of Liaoning drums, and achieve the true rhyme and beauty of words. Fifthly, together with the string master Wang Haimen, she reformed Heizi Gua, highlighting the sound and speed and expanding the range of strings; Adopting the method of adding flowers; Absorbed the plucking skills of other kinds of music, mainly with dense kneading, using bouncing fingering. This not only maintains the original melodious and delicate, but also appears strong and clear.

Meihua Drum, Xihe Drum, Taiping Lyrics and Tianjin Tune developed greatly in this period.

In cooperation with the string master Lu, the plum blossom drum was reformed and the female singing method of plum blossom drum was formed. She opened up a high-pitched range and sometimes dropped the modal particle "alas" at the beginning of Adagio. In singing, it is easy to be vigorous and elegant, tactfully gorgeous, mellow and playful, and mellow. The rhythm is flexible and changeable, and the rhythm of small segments is particularly distinctive; The words on the chessboard are neat and neat, especially at the end of the sentence between the upper plate and the pheasant, which is crisp and handsome. This singing method quickly became popular in Beijing and Tianjin, and after the founding of the People's Republic of China, there was almost no plum blossom.

With the help of his father Ma, he also created a new singing method: "Three Singing" is flexible and changeable, changing at any time, and turning around naturally and neatly; Xiaqiang, Laqiang and Zouqiang have changed from transitional sentences to ups and downs that can be used freely and flexibly, from accessory phrases to vibrant colorful phrases, which appear in flat cavities from time to time, especially in places where emotions are expressed and changed. When singing Pingqiang, we not only mix the above new tunes, but also often move the characters flexibly, roll their eyes and use beautiful sentences, thus changing the monotonous state of repetition and achieving a flat but not dull effect.

Wang Gai changed the stereotype of saying the first four words and singing the last three words in every sentence of Taiping lyrics, and strengthened the melody. The rhythm uses a flash board, the cavity uses a bell, and the dispensable empty word is removed. As a result, this music form, which has long been subordinate to cross talk, broke away from cross talk, stepped out of the open field, entered the variety garden and became an independent genre.

Zhao, a contemporary artist, has a sweet voice, euphemistic lines and sincere feelings, winning by softness, and has formed his own unique singing style.

During this period, many new music genres entered Tianjin. For example, Dong Guizhi and Cheng Yulan's Henan pendant, Lu Qiaoling's Pear Flower Drum, Xie Ruizhi's Danxian, Wang Dianyu's Drum Play, and so on.

Bai Yunpeng, Jin Wanchang, Rong, Chang Zhutian (Danxian), Gao, Qin Cuihong, Ge Zhenqing (Julian Express), Shen Huating (Xicheng Board), Yu Ruifeng (Lotus Fall) and other leading figures in various schools are also constantly exploring and perfecting.

All this has written the most brilliant page in the history of Tianjin Quyi music.

The reasons for these achievements are as follows:

(1) The performance is booming.

During this period, social life was relatively stable and industry and commerce developed greatly. In the 1930s, there were nearly 20,000 factories, shops, trading houses, warehouses, banks, money houses and banks. There are nearly 3000 foreign banks and foreign companies. Shopping malls, shops, baths, dance halls, restaurants, hotels, theaters, cinemas ... all these have promoted the prosperity of Quyi performances. According to incomplete statistics, there are more than 300 artists in the performance advertisements published in newspapers. At that time, only those famous juggling gardens, bookstores, drop-off halls, most juggling gardens and abandoned artists could not do it.

(2) The emergence of new Quyi performance venues.

With the development of industry and commerce, new audiences have emerged. This is the staff, teachers, editors, journalists, small and medium-sized businessmen and capitalists who serve the financial industry, commerce, culture, education, press and publication, government agencies, transportation and post and telecommunications departments. They have a relatively fixed income and a relatively stable life; Have a high cultural level and appreciation ability. I like those more elegant folk art programs. However, because of the artist's concept, he is unwilling to set foot in the general variety garden for fear of losing his position. Similar to them, there are warlords and politicians living in concessions, former princes and nobles of the Qing Dynasty, and their children. Most of these two kinds of people are active in the concession. At that time, the British and French concessions were extremely prosperous, and various buildings appeared one after another. The area around Quanyechang in French Concession has rapidly developed into the center and the most prosperous place in Tianjin. In order to meet their needs, some new performance venues came into being, such as Tianxiang Stage, New World (1930 changed to Xiao Guanghan), Song and Dance Building (1934 changed to Xiao Liyuan), Variety Department of Zhongyuan Company, Tianhuixuan and so on. These performance venues offer higher package prices, and most of the invited artists are first-class; The programs they staged were all civilized and elegant, representing the highest level in Tianjin. In order to perform in these places and satisfy these audiences, artists have to pay attention to vulgarity and turn vulgarity into elegance without hurting elegance. Specific to the singing, gradually from simple, extensive, high-pitched to gorgeous, meticulous, graceful. This has promoted the standardization and beautification of Tianjin Quyi music.

(3) The emergence of commercial radio.

1927, Tianjin radio station started broadcasting, broadcasting some folk art programs every day, but it had little impact. In the mid-1930s, stimulated by fierce commercial competition, four commercial radio stations, Renchang, YMCA, China and Dongfang, appeared one after another. Because Quyi is very popular with the audience, and because Quyi's singing method is simple, all Quyi artists are invited to broadcast live, and artists will insert commercial advertisements in the middle of the performance. As a means of mass communication, they have played an inestimable role in the popularization of Quyi, especially Quyi music. First of all, it not only makes the original tunes such as Jingyun Drum and Tanxian Drum familiar to more listeners, but also makes the new musical forms such as Henan Drum, Liaoning Drum, JD.COM Drum and Single Piano Drum widely known. For example, the radio daily 1939 on April 3 said: "Since Qiao Qingxiu sang Henan pendant on the radio, the tone of the pendant has penetrated into the family." Secondly, she promotes actors and praises the power of radio waves. At the age of 65,438+04, Ma Zengfen established her position in Xihe drum circle with a song Tongue Twister. Qiao Qingxiu quickly became popular in Sanjin, and Liu Wenbin was favored by housewives, especially old ladies. The names of Zhai Qingshan, Wang (immortal) and Shi Huiru (immortal) flew into thousands of households with their songs.

(4) the result of fierce competition.

During this period, the competition between cinemas became fierce. In the past, Quyi performances were basically not advertised in newspapers. With the gradual deepening of commodity competition awareness, large and medium-sized performance venues have realized the role of advertising. Therefore, in the advertising columns of large and small newspapers, Quyi performances occupy more and more space, and they do their best to publicize their actors, genres and programs. They also learn from the "ranking system" of Peking Opera to stimulate competition among actors. The so-called ranking system means that in advertisements and dramas, according to the rank and position of actors in the whole performance, they are ranked from the main to the secondary, from the best to the worst. The determination of rank and position is mainly based on the performance effect of the actors and their popularity with the audience. For example, according to the advertisement of Xiaoliyuan in Yi Shi Daily on September 3rd 1936, Cai Xiao Dance is still in the second card position, with Zhang Shouchen and Hou as the top cards (crosstalk). In the advertisement of 65438+10.6, she surpassed Zhang Hehou and became the number one. Another example is:193610/October 28th, Liu (Jingyun) ranked third, followed by Wu and He Hou; But by165438+1October 15, she fell to the eighth place. Before and after the ranking, it not only marks the reputation and status of actors, but also determines the income of actors. Therefore, actors strive to improve their skills and innovate in art according to their own specialties and the needs of the audience. The relatively stable social life at that time provided them with this condition.

This kind of competition is the result of the law of value, so it has to bring side effects; Some forms of Quyi, such as Lotus Falls and Swing Songs, are all group activities. The theater only pays for the number of performances, and there are fewer and fewer actors, which is gradually declining. Under the requirements of the audience's "both color and art", female drummers have emerged in batches, far exceeding male drummers. The actor's scene of "Yin flourishes while Yang declines" began to appear in the drum circle. Take Zhongyuan Amusement Park as an example. In 1929, actresses account for 40%. 1936, accounting for more than 60%; At 1937, it is as high as 70%. At that time, various forms of Quyi music performed on the same stage as crosstalk and acrobatics. These 70% are drummers except a few acrobats and Beijing Opera oratorios. Most of the actors accounting for 30% are acrobats and crosstalk performers.

4. Tianjin Quyi Music in War of Resistance against Japanese Aggression Period and Liberation War Period (1937.8 ~ 149.38+0).

During this period, Tianjin Quyi music began to decline sharply.

During the period of the puppet regime, many outstanding drum musicians died one after another, including not only old artists such as Jin Wanchang, Gao, Chang Zhutian and Chang Xu, but also young girls such as Qiao Qingxiu, Wang He and Lotus (Taiping lyrics). Zhu Xizhen went to the northeast, Lin Hongyu (Jing Yun Drum Artist, known as the King of Female Drums) went to Shandong, and Zhang Cuifeng (Jing Yun Drum) went to Nanjing, Ma Zengfen and Sanghong.