Where does the high-pitched music of Sichuan Opera come from?

Sichuan Opera is a popular opera in southwest China, which is popular in Sichuan Province and parts of Guizhou and Yunnan. Including Kunqu Opera, Gaoqiang Opera, Huqin Opera, Tanxi Opera and Chuandeng Opera. It turns out that there are all kinds of vocals performing separately in all parts of Sichuan. Since the Qing Dynasty, they have gradually formed the style of * * * because they often perform on the same stage. At the end of the Qing Dynasty, they were collectively called "Sichuan Opera" and later called "Sichuan Opera". Percussion music was used to help the cavity, and there were many ways to help the cavity. Among them, there are more than 300 commonly used tunes, such as "New Water Order" and "Zhengshan", and their artistic features are also the most obvious. The main traditional plays are Five Robes (the story of green robe, the story of yellow robe, the story of white robe, the story of red robe and the story of green robe) and 《

However, the source of high-pitched music in Sichuan Opera is still controversial academically.

(1) Comrade Shamei, who was introduced to Sichuan from Hunan, wrote in Music Research that it was more reliable for the lower reaches of the Yangtze River to be introduced to Sichuan from Hunan, because high-pitched tunes were popular in Hunan before the emergence of Kunqu Opera. Because Hunan and Sichuan border, many Hunan people immigrated to Sichuan in the late Ming and early Qing dynasties, so it is very possible to take them with them. In Xu Wenchang's Introduction to Nanci (see the preface of the 28th year of Jiajing in Ming Dynasty), he wrote: `Today's singers are called Yiyang, which is used in Jiangxi, Beijing (that is, Nanjing), Hunan and Fujian. Yiyang at that time, which was later Levin, was likely to spread to Beijing, Hunan and Fujian. Therefore, the development of high-pitched cavity is not the same in different places, but Sichuan high-pitched cavity is close to Hunan high-pitched cavity, and Sichuan high-pitched cavity appears very late. According to Xu Wenchang's records, there was no Gao Qiang in Sichuan at that time, which proved that there was no Gao Qiang in Sichuan in the Ming Dynasty. However, it has already existed in Hunan. On the other hand, Wei Changsheng performed in Beijing during the Qianlong period of the Qing Dynasty, not playing Gao Qiang, but playing Western Qin Opera. "Xiao Ting Miscellaneous Notes" said: "At this time, foreign dramas prevailed in Beijing, and scholars hated them. Therefore, it is called "the capital" because it is called "longevity", and I don't know Wei, Wei, Wei, Wei. This record does not mention the high tune of Sichuan Opera. In addition, Hunan and Hubei immigrated to Sichuan.

(2) It comes from the high-pitched Beijing Opera, which may have been brought back to Sichuan by Li Tiaoyuan or Wei Changsheng. During the Qianlong period of the Qing Dynasty, the Sichuan dramatist Li Diaoyuan had a great influence on the formation of Sichuan Opera. It may come from the high notes of Peking Opera and Levin or from Hunan, especially on both sides. Comrade Shamei once compared the music of Beijing Opera with the high-pitched music of Sichuan Opera in the article "On the High Tone of Sichuan Opera", arguing that the music of Beijing Opera is not as good as the high-pitched music of Sichuan Opera because the music of Beijing Opera (including the format, personality, appearance and rhythm of tunes, the rhythm of doors and gongs, etc.) is limited by specifications and rhythms, and the mechanical program of performance is produced; The tenor music of Sichuan Opera is diversified in sound types and flexible and complex in sound value, which is beyond the reach of Beijing Opera music and has an inseparable influence on it.

(3) Adapted from Yi Opera in Yiyang County, Jiangxi Province. Li, a native of Sichuan in the Qing Dynasty, said in "On the Twelve Methods of Peking Opera": "Yi Opera has no music, only with local customs, one person sings." In addition, Yucun Opera said that Yi Opera began in Yiyang, which is today's high opera, and all the songs are Nanqu. Beijing is called "Peking Opera", Guangdong is called "Gao Qiang", and Chu and Shu are called "Qing Qiang". For example, The Spectrum of Twelve Methods of Peking Opera in Wang Zhengxiang says, "What's the name of Yi Opera? Gai originated in Yiyang County, Jiangzuo, hence the name. Youkun Opera originated in Kunshan County, Jiangzuo. '

According to Li Diaoyuan and Wang Zhengxiang, there is no doubt that Gaoqiang originated in Yiyang, Jiangxi. Although Li and Wang's views are not completely unified and there are some confusions, what they say is quite consistent with today's Sichuan Opera, especially Li Tiaoyuan's "singing together" is closer to the form of Sichuan Opera.

From the analysis of the above speeches, many people have put forward different views. For example, in the article "Some Opinions on the High-pitched Music of Sichuan Opera" in Music Research magazine, Wang Chuan thinks that Sichuan Opera was introduced from Hunan and there is nothing to be based on; As for Hebei Levin's statement, not only is there no book to testify, but Levin's high-pitched voice has nothing in common with that of Sichuan. Levin's high-pitched tunes are accompanied by the sound of sea flutes, which further shows that this guess is unreliable. There is no relationship between them? This can't be said, because several earlier and bigger operas in China all influenced each other.

There are also books that prove that Jackson Yee was directly introduced into Beijing. Wei Changsheng, a Sichuanese, probably brought it back to Beijing from Beijing. However, it is more likely to be introduced directly from Jiangxi to Sichuan, because there are waterways in the two provinces, businessmen often come and go, and many people immigrated from Jiangxi to Sichuan in the late Ming and early Qing Dynasties. The introduction of Jackson Yee is also natural. Therefore, it is too unfounded to say that Levin's high-pitched accent was introduced into Sichuan. There is no record of Hunan's introduction into Sichuan, which is very unlikely, so it is impossible to draw a conclusion.

All the above statements are uncertain speculations. I believe that through scientific analysis and contention, the mystery of the origin of Sichuan opera tenor music will eventually be revealed to the world.