The history of nanyin

Nanyin, also known as Nanqu, Nanguan, Nanyue, Xianguan, Lang Jun Music and Lang Jun Singing, has different names from place to place. "Nanle" is known as "Nanle" in terms of geographical spread, such as Xiamen; "Chord pipe" is mainly played by the strings of bamboo flute, which was often called "chord pipe" in ancient times; "Music of Langjun" and "Singing of Langjun" refer to Nanfeng musicians who regard Lang Jun of Mengfu as the god of music. There are also called "Golden Melody" and "Five Tones".

Nanyin comes from the Central Plains.

There are many similarities between the ancient music of the Central Plains in the Yellow River valley of China and Nanyin, such as playing five tones first, discussing scales and Gongdiao; Rotation characteristics of palace angle around quotient and other polygons; The notation of Han Dynasty and the singing method and performance form of Han Lin's harmony song "Si Zhu Geng He, Sacrifice Song"; Three tones, three phases and five tones of Qing and Shang can be found in Nanyin. (stupid article: "the problem of standard pronunciation of southern sounds" has explained the above phenomenon in detail, so this article explains it. It is no wonder that there is a poem written by Su Jun, a cold Confucian in Jinjiang during the Wanli period of the Ming Dynasty: "The path is misty and rainy, and the sky waves are rolling." "Jiangtou kept singing business songs, leaving behind the spring breeze and hospitality." The Soviet army was Nanyin's lover. If it's not Nanyin, what does he mean by Shangqingqu? Therefore, in ancient times, Quanzhou Nanyin was probably also called Shang Qing Qu.

The reason why the ancient music of the Central Plains survived in Quanzhou Nanyin is not unrelated to the phenomenon of several large immigrants in history. Yongjia Rebellion (304 -309 AD), Jin people went south. The Song Taiping Book of World Records says: "The gentry were well dressed when they crossed the eastern Jin Dynasty to the south, until they were blocked and used more land. In the second year of Jing Yun, Nan 'an County (now Quanzhou) was changed to Quanzhou and Jin 'an County (now Fuzhou). " Archaeologists in Quanzhou also found a large number of gold tombs in Jinjiang Valley. Especially a few years ago, a Jin Dynasty tomb was found in Maoxia Village, Yufeng District, which contained funerary objects of "Buquyin", which is an important witness to this historical fact. However, in order to remind future generations of this historical fact, the Jin people who moved south renamed this river, originally named Nan 'anjiang, as Jinjiang to show their yearning for the golden homeland. After the death of the Eastern Jin Dynasty, Jin people who moved south to Jiangzuo 100 years still felt that Jiangzuo was not as peaceful and stable as the south, so they moved from Zhejiang to northern Fujian in small quantities and finally lived along the river in this southeast corner with pleasant climate, fertile soil and local security, just like Jinjiang River Basin in a paradise. During the reign of Guangqi in Tang Xizong (885-887 AD), Wang Chao and Wang, brothers of Henan Uprising, entered Fujian, and according to the five states in central Fujian, they became kings and established Fujian. Migration time is short and long. His nephew, Wang Yanbin, set up a recruiting school in Nan 'an, and the gentry of the Central Plains, such as Huang Tao, moved south one after another, making the whole state a "seaside Zou Lu" for a while. At this time, Quanzhou's economy and culture are quite developed, and it is already a prosperous scene of "thousands of people are singing together". The southward crossing of Zhongyuan people not only brought advanced production technology, but also brought excellent music culture of Zhongyuan, which greatly promoted the economic and cultural development of Quanzhou at that time and laid a solid foundation for the prosperity of Quanzhou in the Song and Yuan Dynasties.

The Integration and Development of Nanyin and Liyuan Opera

Why can Nanyin ancient music be passed down from generation to generation, sung for a long time and loved by people? The main reason is that in the historical process, in addition to constantly absorbing the voices of brothers to enrich themselves, the decisive factor is the long-term integration and development with Liyuan Opera.

In the second year of Jingkang (A.D. 1 127), Jin Bing invaded the south, Bianjing (now Kaifeng) fell, the Northern Song Dynasty fell, and the capital was moved to Lin 'an (now Hangzhou), and the Southern Song Dynasty was established. The branches of Zhao and Song royal families moved from Lin 'an to Quanzhou. Legacy ministers and adherents moved south one after another, and Quanzhou became the capital of the Southern Song Dynasty. At this time, Quanzhou Port is in a prosperous period and has the reputation of "the largest port in the East". The result of economic development will inevitably bring about cultural prosperity. The Liyuan Opera, based on Nanyin and with Quannan accent with strong Zhongzhou Charlotte accent as lyrics and storytelling, came into being at this time. It should be pointed out that it has nothing to do with the court culture brought about by the southward migration of the Song Dynasty, such as family drama.

Liyuan Opera takes Nanyin as its mother song and Nanyin "Qu" as its main singing voice. In the course of its development, it absorbed some folk songs and other traditional operas, such as Yiyang, Kunshan, Qingyang and Chaodiao, to enrich itself, and formed schools such as "going on the road", "going south" and "small pear garden". In the long historical process, Nanyin moved from court to folk, and from folk to stage, forming a unique, elegant and popular traditional music. The tone of Nanyin is simple, elegant, soothing and low-key, but it is most suitable for folk stories with sadness, sadness, lyricism and yearning, especially with love as the theme. Therefore, it is very infectious, connected with the people's hearts, favored by people, and has a strong and solid mass base.

There are traces of Liyuan Opera such as Chen Sanwu Niang in the three Selected Books of Minnan Opera in Ming Dynasty. It not only recorded the rolling gate of Nanyin, but also marked the lyrics and music of Nanyin, indicating that the relationship between Nanyin and Liyuan Opera has a long history.

The appearance of Liyuan Opera not only enriched the contents of Nanyin's "finger" and "song", but also developed Nanyin's plucking, musical instruments and intonation through performance practice. In the aspect of clapping, the original binary notes are clapping, but they are condensed into quarter notes as clapping; The musical instrument was changed to Pinxiao instead of Dong Xiao; In terms of tuning, the tuning mode is changed from "taking industry as business" as the standard sound to "taking X as OEM" as the quality control tuning mode. As Nanyin and Liyuan Opera learn from each other and blend with each other in the long history, "you have me and I have you". To some extent, Liyuan Opera's reform of Nanyin is closer to real life, and the people are more willing to accept it, which undoubtedly plays a role in perfecting Nanyin and enriching Nanyin, making Nanyin art more vital.

Moreover, other local operas in southern Fujian, such as puppet show, Gaojia play, Dacheng play and even Xiangzi play, also absorb nutrients from Nanyin and enrich themselves in the process of development. For example, the most distinctive opera in Taiwanese opera is glamorous, isn't it evolved from Nanyin Erxian? Similarly, in the process of performing for the people, various operas in southern Fujian have been constantly enriching and practicing Nanyin, making Nanyin closer to the masses and more deeply rooted in people's hearts, and becoming an indispensable part of people's spiritual food and daily life.

On the Etiquette of "Stepping on the Golden Lion" in Quanzhou Nanyin

1. In the past, when Quanzhou Sixian was singing, it was necessary to set up a brocade shed with banners of "imperial guests" hanging on it and wooden silver palace lanterns hanging on the side. There are five plush chairs in the center of the stage, and an umbrella embroidered with Huanglong stands on the left. Everything on the stage is arranged according to traditional laws and regulations. The whole stage was decorated with colorful lights, which made it look particularly atmospheric.

In the old days, singers and performers of stringed instruments were all men, and they were very particular about clothes, so they had to wear robes and mandarin jackets to perform on the stage. They sat in plush chairs, gentle and gentle, and their manners conformed to the ancient style. Up to now, Nanyin pays more attention to etiquette when singing, and it is strictly forbidden to wear shorts, vests and slippers to perform on stage. 3. The player has a fixed position when singing the clarinet. The order of the five seats is that the singer holds the festival in the middle, the first one on the singer's left is the flute, and the second one is the second string. On the singer's right, the first one is pipa, and the next one is Sanxian. Other musical instruments, such as bell, small call, wooden fish, double bell, Four Treasures of the Study, flat drum, etc., are separated on both sides of the back. 4. The tradition of Quanzhou Sixian singers holding festivals and singing songs is the same as that of singers holding clappers in the long scroll of Han Xizai's Night Banquet in the Southern Tang Dynasty. It has always continued the traditional form of "silk and bamboo are more harmonious, and people who hold festivals sing". Among the vast national folk music in China, Nanyin is the only one with this performance form and distinctive local characteristics.

5. In the past, the stringed instrument was mainly pipa, sitting in the "big position" on the singer's left. When playing, pipa players should also go on stage first, and other musical instruments players can sit down. Later, when "Five Little Fairies" played for Emperor Kangxi in Jinjing, Emperor Kangxi tried to play with a flute. After that, this "big position" was naturally given to the flute player.

6. During the performance of Quanzhou Nanyin, there were two carved golden lions on the stage for the players to step on. This form of performance is called "stepping on the golden lion". This unique display and etiquette is said to have originated in the Kangxi period of the Qing Dynasty, which was related to the favor of Emperor Kangxi when he performed Nanyin Jinjing in Quanzhou.

7. Those who play the pipa and erhan in the string tube often cross their legs when playing in order to prevent the instrument from slipping. It is disrespectful and impolite to cross your legs in front of the Supreme Emperor when playing for Emperor Kangxi in Nanyin Jinjing, Quanzhou. Quanzhou string pipe master doesn't know what to do.

8. Emperor Kangxi had an idea. He had a brainwave and ordered the eunuch to take down the two golden lions in front of the dragon chair, one at the foot of playing the pipa and the other at the foot of playing the second string, so as to cushion the feet and prevent the instrument from slipping, so as to play better. Since then, Quanzhou Nanyin musicians have had the honor of "stepping on the golden lion". 9. "Walking Golden Lion" has now evolved into four golden lions, and each player has a golden lion pad. Quanzhou Nanyin, a strict singing etiquette custom, is simple, solemn and standardized. The etiquette of "stepping on the golden lion" shows the profound connotation and artistic value of Nanyin.