Chen lei

China is an ancient civilization with a long history and rich cultural heritage. In the tangible intangible cultural heritage, there is a unique national way of thinking and psychological structure, which is the embodiment of a nation's creativity, imagination and wisdom. Intangible cultural heritage is also an important part of world heritage and an inexhaustible source of strength for human beings to promote historical development. With the rapid development of China's social market economy, the breaking of the closed natural economic structure and the strong impact of the commodity economy, the "sea salt document" as an intangible cultural heritage is also facing an unprecedented crisis of survival, so it is particularly urgent and important to study the historical documents of the "sea salt document".

First, the origin of sea salt literature

Wu Ge thinks that the development of Haiyan Opera has a certain influence on the evolution of Yiyang Opera and Kunshan Opera, and the elements of Haiyan Opera are preserved in the instrumental tunes sung by Mr. Haiyan Saozi. Experts who sing Kunqu opera in Ouju, Zhejiang Province also believe that Haiyan musical instruments preserve the lingering sound of Haiyan opera. Then understanding the historical origin of Haiyan cavity will help to understand the origin and musical characteristics of Haiyan musical instruments.

There are several views on the origin of Haiyan tune in academic circles: one is the theory of Southern Song Dynasty. The representative figure is Li Rihua of Ming Dynasty. In Zitaoxuan Miscellaneous Notes, he thought: "Zhang Zi, with good words, followed the grandson of Wang, was luxurious and elegant, and tasted the sea salt in our county. He made a garden pavilion to make songs evolve, so he must have a new voice. The so-called sea salt cavity is also. " The second is meta-theory. In the Qing Dynasty, Wang Shizhen said in Notes on Xiangzu: "It is the credit of the young people in Chen Chuan that the young people in the suburbs whisper that Haiyan are full of good songs. Gong Huizi, his ancestor, made friends with Guan Yunshi and got the legend of Yuefu. ..... There are thousands of children at home, all of whom are good at North-South songs. Haiyan is known as a good song in western Zhejiang. In fact, it originated in Guansuanzhai and has a long history. " Whispers in Happy Suburbs was written by Yao Tongshou, a native of Haiyan at the end of Yuan Dynasty. He thinks that the creation of Haiyan tune by Guan Yunshi and Andy is open to question, but it shows that Haiyan tune spread in western Zhejiang in Yuan Dynasty is an indisputable fact. There is also the Literature Department of Zhejiang Media College. Associate Professor He thinks that "Haiyan tune was brought by prisoners in Qin Dynasty" in The Origin of Qin Shihuang and Haiyan tune, 1, and Haiyan tune was brought by "relocated households" sent by Qin Shihuang to dig rivers to dry salt, build palaces and bridge the northern coast of Zhejiang. For thousands of years, it has been circulated in the local area in the form of gladiatorial drama, high-pitched folk songs, illusion, Liuhe song and dance, and gag. Therefore, it is wrong to think that Haiyan tune originated from the Southern Song Dynasty and the Yuan Dynasty. 2. Haiyan Opera uses the northern Zhongzhou sound, takes the beat as the festival, contains high-pitched elements, and is mostly high-pitched in the north. It adopts the structure of Qupai couplets, which also shows that it is the tone of "the shape of the south", the legacy of the pearl scattered in the south by the north, the connection of intermediate stations, and the title of the transition from the north to the south. 3. Hangzhou, the capital of Southern Song Dynasty, created objective favorable conditions for the first prosperity of Haiyan Opera, which was a powerful catalyst. The appearance of Haiyan Opera was favored not only by the bureaucrats who moved northward, but also by the local people in northern Zhejiang, so it naturally spread in the southeast region with the encouragement of the government and the stimulation of folk demand, and its reputation rose. 4. After nearly 300 years' development, Haiyan Opera has been reformed for the second time from the inside, and then it has been divided into "metamorphosis"-Kunshan Opera has finally formed in the matrix of Haiyan Opera. Clapping your hands on cold dishes, using a water mill, singing in a low voice, soothing soft voices and turning your throat to rhyme have all become a kind of "new voice". Elegant charm, ethereal and popular, sung all over the country, known as the "father of drama."

The author conducts textual research on Haiyan, and consults a large number of historical documents, and agrees with Professor He's third view in Qin Shihuang and the Origin of Haiyan Chamber: Haiyan Chamber was left one by one after Qin Shihuang sent a large number of "prisoners" to dig rivers, build palaces and build bridges along the northern coast of Zhejiang. For thousands of years, it has been circulated in the local area in the form of gladiatorial drama, high-pitched folk songs, illusion, Liuhe song and dance, and gag. Therefore, it is wrong to think that Haiyan Opera originated in the Southern Song Dynasty and the Yuan Dynasty.

Second, the relationship between Haiyan literature and the musical characteristics of Haiyan cavity.

Professor He's viewpoint in Qin Shihuang and the Origin of Haiyan Opera: Haiyan Opera has been circulated in the local area for thousands of years in the form of gladiatorial drama, high-pitched folk songs, illusion, Liuhe song and dance, and gag. Haiyan dialect uses the northern Zhongzhou dialect, which takes the beat as the festival, contains high-pitched components, and is mostly high in the north (qu), and adopts the structure of qu-pai couplets. Haiyan Room uses the northern dialect, not the local Wu dialect. Locals call it "Mandarin", which is exactly the local accent of a large number of prisoners in Guanzhong and Zhongyuan areas of Qin Dynasty, that is, the pronunciation of Guanzhong and Henan areas. This made the Northern Song Dynasty and the Southern Song Dynasty, which were still dominated by northerners at that time, have a good impression and favor on the literati, which is also the reason why Haiyan Opera flourished at that time. Haiyan cavity takes the beat as the festival. In the ancient Qin dynasty, urn and hammer were used as percussion instruments, and thigh racket was used as the beat, while Haiyan tune could be sung by accompaniment or one person. When singing oratorios, you don't have to use musical instruments. You can use clappers or castanets instead of musical instruments. It is also a legacy of three fat to use clappers as festivals. There are many high cavity components in the sea salt cavity. In ancient times, Shaanxi and Henan had simple folk customs, Guanzhong and Zhongzhou people worked hard, ate in big bowls and naturally sang loudly, which formed the characteristics of high-pitched agitation and long silence. Haiyan tune also retains the remnants of high-pitched tune in Guanzhong and Zhongzhou areas, which is rare in southern water towns. Wu Ge thinks: 1. Both of them are popular in Haiyan County, and Haiyan Opera occupies an important position in the history of China opera development, and its influence is self-evident. Besides, in the same place, all kinds of art forms always penetrate each other. 2. Both of them are used in occasions (places) where rich people entertain, and singers wear dresses. Haiyan costumes can be found in an illustration of Haiyan children's play in the Ming version of Jin Ping Mei Hua Ci. In the hall, the gentlemen's guests on both sides are drinking and watching the play, while the people in the harem are hanging indoors to watch the play, and the two figures in the middle are performing in ancient costumes. 3. Haiyan Literature also has drama traces similar to Haiyan Room, full of life, Dan, purity, end and ugliness. Haiyan opera is accompanied by gongs, drums and boards, without strings; Haiyan's literature is generally accompanied by strings, and singers often secretly clap their hands to master the rhythm. 4. Both of them have the form of chorus, with the help of "Lu Lai, Li Lulai". This point has been proved in the legendary edition of 1967 "The New Edition of Liu Zhiyuan White Rabbit Returning to the Native" unearthed in Jiading, Shanghai. At the beginning of the play, the first sentence is: "Come to Li Lailu and Li Lai ..." This tune is also found in the "Four-level Tune" in Fujian and the "God of Wealth Tune" before the performance of the original class of "Meng Opera" in Jiangxi. This shows the connection between the two. According to the law of the development of national art, generally speaking, Haiyan tune should absorb the book of Haiyan.

Haiyan County People's Government attaches great importance to the study of Haiyan Opera and Haiyan Literature, and has specially set up Haiyan Opera Art Museum (to be built), edited and sorted out 24 internal materials, and held the "First Symposium on Haiyan Opera" in the scenic Nanbei Lake from June 7 to 10, 2000. More than 20 drama experts and scholars from all over the country watched Jiangxi Haiyan Opera and Zhejiang Yongkun Opera. On May 22nd, 2002, Tang Xianzu Art Experimental Troupe of Fuzhou City, Jiangxi Province, the only troupe in China that performed Haiyan Opera, was invited to participate in "China Haiyan Nanbei Lake Tourism Festival", and its wonderful performance caused a sensation in the local area. We believe that these ancient tunes, such as "Hai Yan Diao" and "Hai Yan Literature", will surely regain their luster and be handed down to future generations through earnest, meticulous, arduous and spare no effort in exploration, research, identification and refining.

On the Source and Musical Features of "Haiyan Literature"

Chen lei

According to the legend of Haiyan's place names and historical materials of drama, it can be proved that Haiyan Opera was brought by the "immigrants" left by the emperor after he sent a large number of "captives" from Guanzhong and Zhongyuan to dig rivers to dry salt and build palaces and bridges along the northern coast of Zhejiang. With the development of history, the sea salt cavity has not disappeared. Through study and research, there is still an ancient literary form-"Haiyan Literature" in Haiyan County, and it is found that its musical characteristics are inextricably linked with Haiyan Opera. This paper makes a brief textual research on the source, musical characteristics and singing form of Haiyan Literature.

Keywords: Haiyan cavity, Qin Shihuang, Haiyan document

China is an ancient civilization with a long history and rich cultural heritage. In these tangible and intangible cultural heritages, the unique thinking mode and psychological structure of the nation are presented, which is the embodiment of a nation's creativity, imagination and wisdom. With the rapid development of China's social market economy, the break of the closed natural economic structure and the strong impact of the commodity economy, the "sea salt document" as an intangible cultural heritage is also facing an unprecedented survival crisis. For the study of Haiyan literature, it is particularly urgent and important to find out the source and musical characteristics of Haiyan literature.

The Origin of "Sea Salt Document"

At the end of Song Dynasty and the beginning of Yuan Dynasty, a Haiyan Opera was formed in Haiyan area. Haiyan Opera, as one of the "four major operas" in Ming Dynasty (Haiyan Opera, Yu Yaoqiang Opera, Geyang Opera and Kunshan Opera), is the oldest traditional opera opera opera. It was all the rage in Jiajing period of Ming Dynasty and spread for a hundred years, which had a certain influence on the evolution and development of Geyang Opera and Kunshan Opera. However, due to various reasons, Haiyan Opera has almost become a masterpiece now, and there are few written materials, which brings some inconvenience to the research work of modern scholars. The Dictionary of China's Cultural History, compiled by the Institute of Ancient Books Arrangement of Shanghai Normal University and published by Zhejiang Ancient Books Publishing House, has been compiled into [Haiyan Tune] and [Four Tunes]. The dictionary says: Haiyan tune, "ancient opera tune, opera name, one of the three major southern opera tunes of Song, Yuan and South China." It began in Haiyan, Zhejiang Province in the Yuan Dynasty and was named after a place name. " Haiyan tune, one said: It is believed that the "Northern and Southern Song tune" originated from the popularity of Haiyan in Yuan Dynasty was influenced by Andy (? -1327), etc., was called "official accent" at that time and was loved by literati. Wang Jide said in Qu Lv that "in ancient times, anyone who sang Nanci was called Haiyan." [1] According to Yao Yuan Tongshou's "Whispering in the Music Suburb", Haiyan's youth was good at singing, and because Andy, the general manager of Hangdao in the late Yuan Dynasty, was also from Haiyan, he had a good relationship with Guan Suanzhai (1286- 1324), a prose writer at that time. Guan Suanzhai not only writes Sanqu, but also sings very well. Guan's teacher is also the teacher of his own children. Later, my sons Yang and Yang became friends with another Sanqu composer, and Xianyu was also a professional singer. So the Yang family has thousands of children, all of whom are good at singing from north to south. It can be seen that Haiyan teenagers are good at singing, mostly from Yang Jiafa. Another view is that Haiyan Opera originated in the late Song Dynasty and early Yuan Dynasty, and its founder was Zhang Zi of the Southern Song Dynasty. Li Minghua said in Zitaoxuan Miscellaneous Notes: "Zhang Zi, the word husband, followed the grandson of Wang, extravagant and clear, tasted the sea salt in our county, and made a garden pavilion, which made the song evolve and made the service new. The so-called sea salt cavity is also. " [2] In fact, Haiyan tune can't be produced out of thin air in Song or Yuan Dynasty. The appearance of Zhang Zi, Guan Shuzhai and others just shows that some literati intervened in Haiyan cavity at that time and turned it into a "new voice" different from the past.

Haiyan is a small county town, facing the sea pillow mountain, the traffic is blocked and sparsely populated, but there will be a famous loud voice, which is really strange! There is a new theory about the origin of sea salt cavity. He of Zhejiang Media College thinks that "1" Haiyan tune was brought by Qin Shihuang's sending a large number of prisoners from Guanzhong and Zhongyuan to the northern coast of Zhejiang to dig rivers to bask in salt and build palaces and bridges. For thousands of years, it has been circulated in the local area in the form of gladiatorial drama, high-pitched folk songs, illusion, Liuhe song and dance, and gag. Therefore, it is wrong to think that Haiyan tune originated from the Southern Song Dynasty and the Yuan Dynasty. 2. Haiyan Opera uses the northern Zhongzhou sound, takes the beat as the festival, contains high-pitched elements, and is mostly high-pitched in the north. It adopts the structure of Qupai couplets, which also shows that it is the tone of "the shape of the south", the legacy of the pearl scattered in the south by the north, the connection of intermediate stations, and the title of the transition from the north to the south. 3. Hangzhou, the capital of Southern Song Dynasty, created objective favorable conditions for the first prosperity of Haiyan Opera, which was a powerful catalyst. The appearance of Haiyan Opera was favored not only by the bureaucrats who moved northward, but also by the local people in northern Zhejiang, so it naturally spread in the southeast region with the encouragement of the government and the stimulation of folk demand, and its reputation rose. 4. From the early Ming Dynasty, after nearly 300 years' development, Haiyan Opera was reformed for the second time from the inside, and then the "transmutation" split was completed-Kunshan Opera was finally formed in the matrix of Haiyan Opera. Clapping your hands on cold dishes, using a water mill, singing in a low voice, soothing soft voices and turning your throat to rhyme have all become a kind of "new voice". Elegant charm, ethereal and popular, sung all over the country, known as the "father of drama." Haiyan cavity continues to spread in its daughter Kunshan cavity for a long time! [3] It is true that Haiyan and Qin Shihuang have a profound historical origin. According to the author's local research in Haiyan, Qin Shihuang sent a large number of prisoners to carry out the following projects in Haiyan and its nearby areas: First, the stone bridge column in Qin Tang, Qin Huangfei's tomb, Qin Zhubei and Qin Huangchi Road.

Haiyan tune has evolved for more than 1000 years since the Southern Song Dynasty. In addition to the regional evolution, we can also make textual research from the tune noumenon and evolution of Haiyan tune: 1, Haiyan tune is not a local Wu dialect, but a northern dialect, which is called "Mandarin" by locals, which is precisely the local accent of a large number of prisoners in Guanzhong and Zhongyuan areas of Qin Dynasty, that is, the pronunciation of Guanzhong and Henan areas. This made the Northern Song Dynasty and the Southern Song Dynasty, which were still dominated by northerners at that time, have a good impression and favor on the literati, which is also the reason why Haiyan Opera flourished at that time. Second, the sea salt cavity takes the beat as the festival. In the ancient Qin dynasty, urn and hammer were used as percussion instruments, and thigh racket was used as the beat, while Haiyan tune could be sung by accompaniment or one person. When singing oratorios, you don't have to use musical instruments. You can use clappers or castanets instead of musical instruments. It is also a legacy of three fat to use clappers as festivals. Third, there are many high cavity components in the sea salt cavity. In ancient times, Shaanxi and Henan had simple folk customs, Guanzhong and Zhongzhou people worked hard, ate in big bowls and naturally sang loudly, which formed the characteristics of high-pitched agitation and long silence. Haiyan cavity still retains the remnants of the high-pitched cavity in Guanzhong and Zhongzhou areas, and there are few soft and delicate features of southern water towns. The latter just embarked on the localization process of Kunqu Opera's northern high-pitched tune. Fourthly, the sea salt cavity itself contains many components of the northern cavity. Whispering in the Music Suburb said: Andy, the general manager of Hangdao in the late Yuan Dynasty, was also a native of Haiyan, and he had a good relationship with Guan Suanzhai (1286- 1324), a prose writer at that time. Guan Suanzhai not only composed Sanqu, but also was good at singing. Guan's family has taught and taught their own children. Later, his sons Yang and Yang became friends with another Sanqu writer, but Xianyu was a northern Sanqu writer. The northward movement of Haiyan Opera also proves from another aspect that it brought to the prisoners in the Central Plains and Guanzhong.

Haiyan Opera is famous all over the country for its soft and delicate singing, and it is one of the "four major melodies" of Southern Opera, which has had a great influence on the development of drama melody. Later, however, because Kunshan Opera inherited and carried forward the feminine characteristics of Haiyan Opera, it developed and transformed into a more delicate "water mill tune", and with orchestral music, Haiyan Opera was gradually replaced by Kunqu Opera. It is not easy to study Haiyan tune, because it has not left a score (not found so far) and no audio materials. There is still an ancient literary form in Haiyan County-"Wenfengshu", which is inextricably linked with Haiyan Opera. According to the development law of traditional art in China, the opera music in any opera is always developed on the basis of local folk songs, rap music and song and dance music. Therefore, the rap form of Haiyan Literature (or its predecessor) is definitely one of the factors that form Haiyan tune.

The Musical Features of Haiyan Literature

Haiyan Document is a copy used in folk singing activities loved by people in Haiyan area. The whole singing process is called "offering documents" or "singing divine comedy". In the old days, it was a kind of sacrificial activity called "Buddha", which was usually sung at weddings, childbirth, adoption (recognizing michel platini's godmother), blessing and birthdays. It was formed between the Song and Yuan Dynasties and prevailed before the Republic of China, with a long history. However, due to various reasons, by the end of the "Cultural Revolution", Haiyan musical instruments had basically not performed for a long time, and there were few singers left. Even if they can sing, they are old and dying. It can be said that Haiyan document is facing the same fate as Haiyan cavity-becoming a "swan song". Faced with this situation, people of insight such as,, Gu, etc. started the rescue work from 1979. They excavated and collected nearly 100 original manuscripts of sea salt documents, which provided physical materials for research and had considerable academic value.

After investigation, there are nearly 100 kinds of sea salt literature, and there are 16 rhymes in the lyrics, such as fairy, reunion, apricot and sand flower. According to the basic characteristics, sea salt literature can be divided into two categories: "official books" and "soup books".

"Official Book", commonly known as "Divine Comedy Book", is a handwritten secret handed down from generation to generation or taught by teachers. The content of each book is a legendary story of a certain god or figure (a famous local figure was also named a god after his death). Rich in content and complete in plot. There are no objects, such as Huaguang and silkworm flowers, which are called "small axis books"; Bai Bin's "Big Axis Book" has a long length and many roles to sing, including "life", "Dan", "respect" and "Mo", which is similar to the modern drama. For example, see "Knowing the Year Too Old" (a manuscript in the fifth year of the Republic of China).

At the beginning and end of each song in the book, two sentences are sung for the rising tone and falling tone. There is a "clip theory" between the two sentences, which is divided into "single clip theory" and "double clip theory". The "single clip theory" is generally four sentences, and the "double clip theory" can be all kinds of qupai, such as a passage in "Miss Chen San": "The garden is full of flowers, and the peaches and willows are green (the initial tone). In spring, flowers and plants are blooming and irises are in pairs; Flowers are colorful and jasmine is fragrant (only with sand). Purple swallows wear curtains and merge, and mandarin ducks swim in pairs (falling tone). " [4] (Note: Research on Haiyan Cavity (internal data), prepared by Haiyan Cavity Art Museum. No.6 (1April 998), page 20. )

The beginning part of "Tang Shu" is called "Tang Tou" and the back part is called "Tang Shu". The format of Tang Shu is relatively free, and it can be said in fragments, sung to the end, rhymed to the end and rhymed. Literature can be divided into four categories according to melody: long tune, slow tune, soup tune, urgent tune and miscellaneous tune. 1. "Long-cavity slow songs" are generally used in "official books", accounting for the majority of the book, with seven, eight, nine and fourteen characters. They are lyrical and leisurely, and their words are sparse and round. The uncles help them sing "Lu Lai, Li Lulai" as a lining. Attached. "Zaqu" has been handed down from generation to generation, and it is also improvisation. Generally speaking, artists gradually evolved after absorbing local and foreign tunes in the process of singing, mainly inserting the main book. Most of Haiyan's documents are pentatonic, mainly in Gongdiao and Feather Tone, and there are also Shang Tone and Zheng Tone. The melody is smooth and there are many following behaviors. I think it has something to do with the falling tone of Haiyan dialect. Such as "Inner to Ali's Qi? Where are you going? The tone of this sentence is similar to "solmi re do". Melody from high to low, lyrical and beautiful. Multi-level early jump, mostly sophomore and junior, and occasionally pure four or five degrees. Five-step progression is adopted because the rotation method of step by step progression is the softest, and there is no sharp second degree in the melody. The starting position of the phrase is the upper plate (strong rise), which is peaceful, smooth and catchy, such as "There is Wang Cao in Beiyue" with a long cavity.

In the sea salt literature, Xiang Shu sang "Lu Lai, Li Lu Lai", which is very similar to the sea salt cavity recorded in Kunqu opera, Jiangxi sea salt cavity and literature and history materials, such as "White Rabbit". Of course, they are not entirely coincidental. Haiyan literature is generally a single paragraph, with a narrow range, rarely exceeding octave, and the rhythm changes little. There used to be many leaning notes and Boeing as decorative notes, with almost no tone change and many time-varying beats, such as daffodils. There are few pauses, only occasionally used at the end of a sentence to catch my breath or pause, so the melody is basically full. The musical language of Haiyan literature is relatively simple. If it is a big axis book in the main book, it is necessary to comprehensively use various vocals, poems and rhymes to explain the plot and shape the characters. The timbre is often determined according to the singer's own voice conditions. It is really touching to pay attention to the combination of true and false sounds when singing. At the same time, it also requires calm, clear articulation, and coordinated singing and action performance. If it is a serious book, it usually has a plot, and often one person has to bear two or three roles at the same time. First, he announced himself, and then all the characters appeared. It has the characteristics of drama and is different from folk minor, which shows that it is in the same strain as Haiyan tune. The author interviewed Mr. Wu Guanjin (1925-), heard and witnessed his singing, and felt that his breath was smooth, his voice was very penetrating (it can be seen that it was achieved after a certain degree of special training), and his articulation was also very particular and charming. At the same time, it has the characteristics of singing voice, words, emotion, taste and spirit, including five or seven words in Tang and Song Dynasties.

The Singing Process of "Haiyan Document"

Haiyan literature is different from ordinary folk tunes. According to old artists, the sacrificial activities of "Buddha" last for a long time, ranging from one day and one night to three days and three nights, and it is said that there are even seven days and seven nights. No matter how long it takes, the song can't be repeated, so it must be sung in full tune. At that time, most singers could sing dozens of documents. Judging from the collected literature, only the lyrics have no music score, and the singers are all male, so they are called "Mr. Sao Zi". Its name comes from "dragon boat" or "paper man" who needs to burn paper after singing, so it is called "burning paper" (taking its homonym); Because it is difficult to sing, I am very respected and called "Sir". Mr. Saozi is generally handed down from generation to generation, and some have been taught by teachers since they were five or six years old. In the off-season of winter and spring, activities are often held, which are semi-professional. It is a comprehensive art which takes rap in local dialect as the main form, mostly in narrative form, telling stories, portraying characters, expressing thoughts and feelings and reflecting social life, and is deeply loved by ordinary people. Like the singing form of Haiyan Opera, there is no accompaniment of silk and bamboo, and it is a chorus form without makeup. The situation of being invited by the gentry and the rich family to sing in your house is just like that when Haiyan's children went to the dignitaries' home to sing the words in Haiyan's cavity, and the content they sang was full of traditional opera flavor. From this point of view, it shows some traces of sea salt cavity. Singers are different from witches and monks. The sacrificial deities include Confucianism, Buddhism and Taoism, and are presided over by a palm altar that is proficient in Le Shu, cutting, painting, writing, kneading and tying. The rest are called visiting teachers. The ceremony is usually held in the master hall, with various names, such as square tables, chairs and coffee tables. According to legend, there are thirteen seats at most (a table with a square of 100 is required), and various color-printed paper statues are inserted in front of each seat, which are called "Mayi", also known as "paper canon", such as Jade Emperor, Guanyin and Land. There are hundreds of sacrifices on the table, including pigs, chickens and fruits. There is no space on the table. The whole ceremony is called "Buddha", which means to entertain the Buddha and pray for the blessing of the gods. It is both solemn and pious. Before receiving the gods, the hall was cleaned, doors and windows were washed, pigs and sheep were slaughtered, the master and the men in the clan bathed and changed clothes, the women avoided, and after midnight, they received the gods with sandalwood in their hands, and the brand came out of the hall (invited by another band) with suona to meet them, and firecrackers rang in unison, which was very lively. After sitting down, Mr. Sao Zi began to sing. The next morning, I began to knead various offerings with rice noodles; At the end of the afternoon, I sang the first soup (tofu coat) to explain the making process of tofu coat, and made a soup head called "soup book". At midnight, the second soup (Yuanxiao) and the third soup (tea) are served. At that time, there were also new soup books adapted to current events, such as sharply criticizing the extortion of reactionaries, "Japanese came in" and "Pucheng robbers robbed", which criticized the shortcomings of the times and were very popular. In the middle of the night, in order to send away the gods (because the legendary ghosts haunt at night), I sent the tied dragon boat to the river to burn, shouting loudly and looking dignified all the way. Then, sing "Give", kneel before the next banquet and tell the gods to cancel this "wish"; Sing all kinds of songs until dawn; It was not until everyone sang the song "From Lu, Never" that the ceremony of offering sacrifices to God was all over.

The Relationship between Haiyan Document and Haiyan Chamber

To sum up, there is a close relationship between Haiyan literature and Haiyan drama, which can be roughly summarized as: 1. Both of them are popular in Haiyan County, and Haiyan Opera occupies an important position in the history of China opera development, and its influence is self-evident. Besides, in the same place, all kinds of art forms always penetrate each other. 2. Both of them are used in occasions (places) where rich people entertain, and singers wear dresses. Haiyan costumes can be found in an illustration of Haiyan children's play in the Ming version of Jin Ping Mei Hua Ci. In the hall, the gentlemen's guests on both sides are drinking and watching the play, while the people in the harem are hanging indoors to watch the play, and the two figures in the middle are performing in ancient costumes. 3. Haiyan Literature also has drama traces similar to Haiyan Room, full of life, Dan, purity, end and ugliness. Haiyan singing, accompanied by gongs, drums and clappers, without strings; Haiyan's literature is generally accompanied by strings, and singers often secretly clap their hands to master the rhythm. 4. Both of them have the form of chorus, with the help of "Lu Lai, Li Lulai". This point has been proved in the legendary edition of 1967 "The New Edition of Liu Zhiyuan White Rabbit Returning to the Native" unearthed in Jiading, Shanghai. At the beginning of the play, the first sentence is: "Come to Li Lailu and Li Lai ..." This tune is also found in the "Four-level Tune" in Fujian and the "God of Wealth Tune" before the performance of the original class of "Meng Opera" in Jiangxi. This shows the connection between the two. According to the law of the development of national art, generally speaking, Haiyan tune should absorb the book of Haiyan. 5. Both use long and short sentence patterns and various qupai. 6. Both songs are fluent, fluent and lyrical. The ancestors of Tang Ming once said, "Haiyan has a quiet and beautiful accent." The difference is that Haiyan dialect is sung in Mandarin, and "extra words for guests" means "... Haiyan is Mandarin, which is used by Beijingers". It spreads among the literati class, so it can spread all over the country; Most of "Haiyan Document" is sung in dialects (but when I heard Mr. Wu sing, I found that some words are not entirely Haiyan dialect), which is also the reason why "Haiyan Document" has been circulated and maintained.

In a word, there are echoes of sea salt cavity in sea salt literature, and they are inextricably linked. In fact, even after the rise of Kunshan Opera and its popularity in China, Haiyan Opera has been performed in parallel with it for 200 years. "Haiyan cavity, like other vocal cavities, can neither suddenly appear nor disappear inexplicably. At least we can find clues to evolution. [5] (Noe: Ye Changhai's Qu Xue and Drama, 1999 1 1, p. 50. We can imagine that all kinds of arts in his hometown will inevitably penetrate into the form of brotherly art. According to Mr. Zhou Dafeng, a music theorist, "The shadow play in Haining (the neighboring county of Haiyan) is reserved for internal performance ... It is found that there is a qupai called the first song, which seems to be similar to that in the Kunqu opera" Bean Leaf Yellow ". The old artist said that the only Haiyan tune handed down from the previous generation was "Zupai". According to textual research, there are indeed two kinds of qupai in Kunqu Opera, one is' Double Tune Northern Qupai', and the other is' Lu Xian Entering Double Tune Southern Qupai', both of which are southern opera qupai in the Song and Yuan Dynasties. Haiyan opera is also divided into north and south, and the first song is connected before and after, which is of great research value. "

It is true that experts and scholars generally believe that "Sea Salt Chamber" is not extinct, but it is a long-term and arduous task to find and excavate it, especially in the absence of music and audio materials. Today, we rescue, sort out and discuss the "sea salt literature" that is about to disappear in Haiyan area, which undoubtedly has positive practical significance and historical value for the study of sea salt cavity. In particular, we should pay close attention to recording the vocals of living old artists into VCD and save them. We can also rehearse the whole ceremony of "Buddha" and make it into a CD, which will help to preserve the precious cultural heritage of the Chinese nation. Because of this, Haiyan County People's Government attached great importance to the study of Haiyan Opera, specially set up Haiyan Opera Art Museum (to be determined), edited and sorted out 24 internal materials, and held the "First Symposium on Haiyan Opera" in the scenic Nanbei Lake (Andy's hometown) from June 7 to 10, 2000. More than 20 drama experts and scholars from all over the country watched the Haiyan opera performance in Jiangxi. On May 22nd, 2002, Tang Xianzu Art Experimental Troupe of Fuzhou City, Jiangxi Province, the only troupe in China that performed Haiyan Opera, was invited to participate in "China Haiyan Nanbei Lake Tourism Festival", and its wonderful performance caused a sensation in the local area. We believe that through careful, meticulous, arduous and spare no effort to explore, study, identify and refine, Haiyan tune, an ancient tune, will surely regain its luster and be handed down to future generations.

Precautions:

[1] History of China Opera, edited by Peng Longxing,1April 985, p. 132).

[2] Wang Shi. Notes of Xiangzu [A]. Siku quanshu Shanghai: Shanghai Ancient Books Publishing House, 1987. Volume 1 1.

[3] He Qin Shihuang and the Origin of Haiyan Opera [A] Journal of Baoji University of Arts and Sciences (Social Science Edition) No.4, 2002 12 Volume 22

[4] Research on Haiyan Cavity (Internal Data) [P], prepared by Haiyan Cavity Art Museum. No.6 (1April 998), page 20.

[5] Ye Changhai's Qu Xue and Drama [M], 1999 1 1, p. 50.

refer to

[1] History of China Opera, edited by Peng Longxing,1April, 985)

[2] Wang Shi. Notes of Xiangzu [A]. Siku quanshu Shanghai: Shanghai Ancient Books Publishing House, 1987 February.

[3] He "The Origin of Qin Shihuang and Haiyan Room" [A] Journal of Baoji University of Arts and Sciences (Social Science Edition) No.4, 2002, 65438+February.

[4] Research on Haiyan Cavity (Internal Data) [P], prepared by Haiyan Cavity Art Museum. No.6 (1April 1998)

[5] Ye Changhai's Qu Xue and Drama [M], 1999 1 1 month.

[6] Tang Xianzu. Collected works of Tang Xianzu [M]. Shanghai: Shanghai Ancient Books Publishing House, 1980.

[7] Wang Shizhen. Quzao [A]. Integration of China's Classical Opera Works: Part IV [Z]. Beijing: China Theatre Publishing House, 1980.

[8] Angkor's dramatic art "Talking about Haiyan Room" [J]No. 1 2003.

[9] Ci Hai [M] Art Volume, Shanghai Dictionary Publishing House.