Urgent! What is the relationship between the prelude and the singing voice in the Peking Opera singi

Is this question a question or an essay question? If it's a quiz question, then you can only look for the answer in your textbook, because the answers from people who haven't read your textbook will definitely be different from the standard answers in your textbook. If it's an essay question and there is no standard answer, then I can give you a few words:

It is clear that the relationship between the prelude and the singing voice is the relationship between the guide and the guided. The prelude prescribes elements such as pitch, rhythm, and speed for the singing cavity, and the beginning of the singing cavity must be carried out according to these elements given by the prelude. Without the intro, the actor would not have been able to maintain a very good rapport with the band from the beginning.

Of course, there are cases where the song starts without a prelude. This needs to have a premise, first, that the actor has heard or sung a similar melody before this; The second is that this singing voice has been sung many times, and the above elements are already well understood. But after all, such a situation is still very rare in the whole performance process, generally need a prelude to guide the singing, the simplest prelude is one or two notes, just these two tones, and the following singing can be carried out smoothly.

It is closely related to the feelings and style of singing, complements and relies on each other with the actions and thought processes of the characters, and has the characteristics of being flexible, long, short, continuous and interruptible. The starting door has the functions of leading the singing tone, stipulating the height, plate type, speed and so on.

Isn't that the same as singing! Play the prelude and sing it where it's time to sing!! The tone of the note is matched, and the rhythm is the same.

The two most basic vocal chambers of Peking Opera are: "Xipi" and "Erhuang".

The most significant difference between "Xipi" and "Erhuang" is in the rhythm. "Xipi" mainly performs bright and bright, and "Erhuang" mainly expresses low and sad. "Xipi" is the eye up and down, that is, beating the drum to start singing, playing the board and radio, and "Erhuang" is the board up and down.

The Xipi cavity was born from the Bangzi cavity, so its melody is high-pitched and passionate, and it has obvious northern characteristics. There are two theories about the origin of the "Erhuang cavity". One is said to originate from the Yihuang cavity in Jiangxi; One is said to originate from the Hui tone.

Whether it originates from the Yihuang dialect or the Hui tone, in short, it is a southern opera, so its southern ** characteristics are more prominent.

The two most basic vocal chambers of Peking Opera are: "Xipi" and "Erhuang".

Peking Opera, also known as Ping Opera and Peking Opera, is the most influential type of opera in China, with Beijing as the center and all over the country. In addition, Peking Opera has spread throughout the country and has a wide influence, and is known as "National Opera". The Peking Opera performance system named after Mei Lanfang is regarded as a representative of the Oriental drama performance system and is one of the three major performance systems in the world.

Peking Opera is an important form of expression of the traditional Chinese culture, and a variety of artistic elements in it are used as symbols of traditional Chinese culture.

1. The two most basic vocal chambers of Peking Opera are Xipi and Erhuang.

2. Peking Opera, also known as Ping Opera and Peking Opera, is the most influential opera genre in China, with Beijing as the center and all over the country.

3. Since the 55th year of Qianlong in the Qing Dynasty (1790), the four major Hui troupes of Sanqing, Sixi, Chuntai and Hechun, which were originally performed in the south, entered Beijing one after another, cooperated with Han tune artists from Hubei, and at the same time accepted some repertoire, tunes and performance methods of Kunqu Opera and Qin dialect, and absorbed some local folk tunes, and finally formed Peking Opera through continuous exchanges and integration.

Peking Opera is intriguing and mellow. Peking Opera stage art in literature, performance, singing, gongs and drums, makeup, face painting, costumes and other aspects, through the long-term stage practice of countless artists, constitutes a set of mutually restrictive, complementary rhythmic and standardized programs. It has a very rich means of creating stage image art, and the usage is very strict.

If you can't control these programs, you can't complete the creation of Peking Opera stage art. Because Peking Opera entered the palace cave at the beginning of its formation, its development and growth were different from those of local operas. It is required to express a wider range of life, more types of characters to be shaped, more types of characters to be shaped, more strict requirements for the comprehensiveness and integrity of its skills, and higher requirements for the aesthetics of its stage image.

At the same time, it also correspondingly weakens the folk vernacular atmosphere, and the simple and rough style characteristics are relatively weak. Therefore, his performing arts tend to be more expressive techniques that combine virtual and real, transcending the limitations of stage space and time to the greatest extent, and achieving the artistic realm of "conveying the spirit with form, and having both form and spirit". The performance is required to be delicate and delicate, and it is full of plays; The singing is required to be melodious and euphemistic, and the voice is full of emotion; Martial arts is not to win with fire and bravery, but to "martial arts singing".

Peking Opera is mainly divided into two categories: "Xipi" and "Erhuang". Among the common repertoire, there is "Shiro Visits the Mother", Yang Yanhui's "Unspoken Tears Can't Help Tears" is the old student's "Xipi Guide", and Princess Tiejing's "Husband and Wife Sitting in the Palace Courtyard" is Tsing Yi's "Xipi Guide".

The Sippi guide is used to start a large number of singing segments, which is more commonly used. And so on, in the play, Yang Zongbao sang "Yang Zongbao on the horse" is Xiaosheng's western leather guide plate, "Bao Longtu sits in Kaifeng Mansion" sung by Bao Zheng in "Quanmei Case" is the west skin guide of Jingxing, and "Dragon Horse and Phoenix Entering the Imperial City" sung by China Tai in "Playing Dragon Robe" is Lao Dan's west skin guide ......

Although there are many types of Xipi guide plates, the passage is basically similar, as long as you are familiar with the passage, you will know what type of plate the actor is going to sing. If there are too many guides in the same play, the pianist will use different flowers to accompany the play to avoid auditory fatigue.

The singing method of the stuffy curtain guide is basically the same as that of the general guide board, but it is sung behind the scenes first when the actor is not on the stage, such as Liu Xie (Emperor Han Xian) in "Xiao Yaojin" has a large section of singing "Father and son are sad and crying in the palace" in the scene, which is the stuffy curtain guide, and the characters only appear after singing. But this is a two-yellow guide plate, not a West Skin guide plate.

Conclusion] Every cultural thing will have its own unique place, such as the same as Peking Opera, maybe you don't like to read books, it can be very vivid and attract you.

As far as I know, Peking Opera can be mainly divided into: Xipi and Erhuang, which are two kinds of vocal cavities. Xipi, that is, the Huangpi tune, is one of the emphasises of opera.

His singing voice is bright and high-pitched, strong and upright, and is often used to express a cheerful, agitated, and unrestrained feeling. Erhuang, which comes from Anhui, was formed in the adjacent areas of eastern Hubei and Anhui in Peking Opera, Han Opera, Hui Opera and other dramas. Erhuang and Xipi are emphasized and used together, and they are synthesized into "yellow skin".

The most obvious difference between the two is the difference in their rhythm. Among them, Sippi's tone is relatively bright and high-pitched, indicating a joyful and passionate mood. Erhuang's tone is more low and euphemistic, showing more of the character's melancholy or sad mood.

The above information is based on the official information of the China Peking Opera Art Research Center, and has been verified and confirmed many times, and has a very high reliability. I hope mine is able to meet your needs and if you have any other questions, I am more than happy to answer them. Have a great day!

The two most basic vocal chambers of Peking Opera are "Feng Hood South" and "North". Nanyin, also known as "Kun cavity", refers to the traditional ** in the area of Kunshan, Jiangsu. Beiyin, also known as "flat cavity", refers to the traditional ** in the Beijing area.

These two vocal cavities have unique characteristics and performance styles, which are the basis of Peking Opera performances. Nanyin (Kun dialect) is mainly expressed with the characteristics of high-pitched and bright, tactful and soft, tonal jump and change. The Nanyin vocal cavity is high-pitched and bright, and is known for its rapid vocalization, tonal jumping, ups and downs, variable pitch, and unique timbre.

Nanyin is often used to represent female characters and elegant, quiet male characters. Beiyin (flat cavity) is based on the characteristics of stability, peace, brightness, coolness, sullenness, power, and heroism as the main expression techniques. The Beiyin vocal cavity is peaceful and stable, and is known for its gentle tone, clear timbre, powerful voice, stable rhythm, and relatively fixed pitch.

Beiyin is often used to express the role of military generals, strong men and other characters. In Peking Opera performances, actors will flexibly use the southern and northern tones according to the needs of different roles and situations, and combine various elements such as singing, recitation, movement, and makeup to show the characters' personalities, emotions and situations.

Dear, hello, I've kept you waiting, I'm glad to answer for you, the two most basic types of search and wide seepage sound cavities in Peking Opera are "south" and "north" sounds. The "Nan" voice is formed based on the rap art of Suzhou, Jiangsu, with a soft tone, subdued and abrupt tones, expressing weak, delicate and tactful emotions. It is often used to portray female characters and certain affectionate, gentle, and sensual male characters.

The sound of "North" is formed on the basis of rap art in Beijing, and the tone is majestic, heroic and bright, expressing masculine, bold and fierce emotions. It is often used to express male characters and certain intense, tense, and powerful scenes. These two vocal chambers are often used interchangeably in Qiao Sui Peking Opera to express the personality characteristics and emotional state of different characters.