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Chapter 138 Liu Guan Points to Roll the Beaded Curtain

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    After drinking and eating, Liu Guan and everyone moved to the "Qinglian Yaju" on the second floor to drink tea, followed by Miss Jing'er holding her guzheng.

    This little girl is so lively that she is restless even walking.  Every few steps she took, she plucked the strings a few times.

    Liu Guan turned around and asked her, "Jing'er, why are you playing that string?"

    "I want to ask, should I continue to follow." Jing'er responded with a pair of big eyes flashing suddenly.

    "What do you think?" Liu Guan asked back, then turned and continued walking.

    Jing'er playfully replied: "Of course Jing'er doesn't know."

    Liu Guan asked again: "Why did you only play one song at the banquet?"

    "They like to listen to the scriptures lectured by adults, and don't like to listen to the mirror playing the piano, so I won't play it!"

    "Where am I 'lecturing on the scriptures'? The old monk is called speaking on the scriptures, and I am 'discussing the Tao'."

    Jing'er deliberately teased: "Are you a veteran?!"

    Liu Guan couldn't laugh or cry, and said, "You can't teach a child."

    [1] "Nengyuan Building. Rolling Bead Curtain - Part 1" Li Shu. Lyrics Huo Zun. Song Gong Yue. Song

    After entering the tea room, everyone sat around a large long table on both sides. Jing Er knelt down at one end of the long table, put the zither on the table, and kept sneaking glances at Old Master Liu from the corner of his eye.

    Liu Guan was sitting in the middle, and he said to Ji Xu beside him: "Brother Ji, although I have studied extensively, I have always dismissed 'Xiaoling'. I always think that it is nothing more than some gorgeous rhetoric  Things piled up together make people tasteless!"

    Ji Xu listened to Liu Guan's words and nodded humbly.

    "A year ago, I received a New Year's card from my niece, which contained a poem written by you, and asked me to compose a song for it." Liu Guan took a sip of tea and said, "That day, it was the beginning of spring, when  The old man can't help but make me cry when I read this new poem of yours."

    Jiexisi said with a smile: "Master Liu is not a woman, where did the tears of hurting spring come from?"

    "Hey~" Liu Guan said, "Brother Ji's writing is not about cherishing spring and hurting spring. He wrote about a sentimental woman staying alone in a lonely room in a cold early spring, with endless thoughts, from evening to the next day.  A journey in the early morning! With a few strokes, the lovesickness is vividly written on the paper. This kind of poignant love compares with the love and sorrow described by the predecessors."

    Liu Guan continued: "In an instant, a lingering and mournful melody echoed in my ears, making me sit down involuntarily, and the notes poured out from the fingers between the strings like clouds and flowing water" He said to Ji Xu again.  Said, "Although you use a lot of 'changing rhymes' in rhyming, your changing rhymes are not as strict as those in ancient poems. It's really unique"

    Ji Xu said sincerely: "Sir, please give me your advice."

    Liu Guandao: "Actually, creating a long tune by yourself is much more difficult than simply filling in an ancient style word, especially writing such an artistic conception, it is even more difficult. But what puzzles me is that at such a young age,  How can there be such affection? Is there any reference for the characters in the poem?"

    "Yes," Ji Xu said, "it is the student's mother."

    "Oh~?" Liu Guan asked thoughtfully, "My father"

    Ji Xu said: "My father has been doing business in the Western Regions all year round, and he rarely goes home."

    Liu Guan stroked his gray beard and said: "It seems that the increase in business tax and the reduction of agricultural tax can be said to be happy for farmers and hard for merchants! If there were not so many merchants and merchants who left their homes and businesses, left their homes, and silently  Persevere, how can we have the prosperity of our Yuan Dynasty?" After finishing speaking, he said to Jing'er, "Go and call Yiyi up."

    This Yiyi's surname is Xie, her stage name is "Yiyi", and she is a singer here.

    ? I don¡¯t know if you remember, but on Jiexi¡¯s first birthday [called birthday before the age of 50, called birthday later], the birthday present given to teacher Jiexi by Yin Gaiyunfu of Tongzhou Prefecture was Xie Yiyi.  But Jiexi was afraid of guilt, how dare he bring her into the house?  Xie Yiyi, who was in such a cardamom age, was reluctant to give it away, so she was fostered in this "Nengyuan Building".

    Just hearing a light knock on the door, Xie Yiyi flew into the tea house like a little swallow.

    She first paid New Year's greetings to everyone, and then swept her phoenix winking eyes around, and after confirming her eyes with her beloved, she began to pour tea for everyone.

    After all the etiquette was over, Xie Yiyi stood a foot away from the table. She cleared her voice and signaled Jing'er to start.

    Miss Jing'er habitually flicked her hair, flicked her sleeves solemnly, revealing her slender white jade fingers, stroked the surface of the piano, but her hair slowly fell down;  ;?In "Washe" and "Goulan", people can hear art songs such as Puchang, Xiaochang, and Changzhuan; they can also see rap music such as Yaci, Taozhen, Guzici, Zhugongdiao and Zaju,  Court-based performances.

    Purine singing: a folk singing method with tortuous tones in the Song Dynasty.  It also refers to the time tune and ditties sung in this way.

    Xiaochang: It means an ancient slang song, which comes from "Ode to the Bodhi Tree".

    Singing earning money: a popular singing art among the folks in the Song Dynasty in China.  It is the earliest art form to use several tunes in the same palace tune to form a set to sing.

    Zangling and Zanda in Changzhuan had a certain influence on the musical structure of opera and instrumental music in later generations, and Guzici influenced the Guci of rap music in later generations.  Zhugong tune is a large-scale rap genre that matured during this period, and singing plays a more important role.

    Inheriting the legacy of the development of Quzici in the Sui and Tang Dynasties, the tune music in the Song Dynasty achieved unprecedented development.  The singing literary genres of long and short sentences can be divided into the forms of quotations, slowness, closeness, patting, ordering, etc. There are already "breaking", "reducing characters" and "stealing voice" in the lyrics.

    ?Guo Chuwang's representative work "Xiaoxiang Water Cloud" in the Song Dynasty pioneered the guqin genre, expressing the author's love for the mountains and rivers of the motherland.

    In the Song Dynasty, there were records of the bowed stringed instrument "Horsetail Huqin" and Yanyue scale.  In Zhang Yan's "Etymology" and Shen Kuo's "Mengxi Bi Tan", the early Gongchi notation style appeared, and the modern Gongchi notation originated from this.

    In the Southern Song Dynasty, Jiang Kui was a famous lyricist and musician who was able to compose lyrics and compose songs according to them. Jiang Kui has 17 self-du tunes and a qin song "Ancient Resentment" with reduced characters handed down.  These works express the author's feelings of caring for the people of the motherland, and depict a quiet and desolate artistic conception, such as "Yangzhou Slow", "Leixi Meiling", "Apricot Blossom Sky Shadow" and so on.

    In the Southern Song Dynasty, Chinese operas tended to mature, which was marked by the emergence of Southern Opera.  Southern Opera is also known as Wenzhou Zaju and Yongjia Zaju.  At the beginning, singing Wenzhou's folk minor tunes was not restricted by Gongdiao, and later developed into Qupai opera music, and a new form of "Jiqu" appeared, in which several phrases of different tunes were organized to form a new tune.  Nanxi opera has various forms of singing such as solo, duet, and chorus. The handed down Nanxi opera script "Zhang Xie Zhuangyuan" can be found in "Yongle Daqu".

    Zaju in the Yuan Dynasty flourished in the north at first, and gradually developed to the south, blending with southern opera.  The representative writers of Yuan Zaju, Guan Hanqing, Ma Zhiyuan, Zheng Guangzu, Bai Pu, Wang Shifu and Qiao Jifu, are known as the Six Masters in the world.  Typical works such as Guan Hanqing's "Dou E Injustice" and "Single Sword Club", Wang Shifu's "The Story of the West Chamber".  Yuan Zaju has a strict structure, that is, each work is composed of four folds (acts) and one wedge (prologue or cutscene).  One fold is limited to the same palace tune, one rhyme to the end, and one character (mo or dan) is often the lead singer.  There are sometimes breakthroughs in these rules. For example, Wang Shifu's "The Romance of the West Chamber" has a 20% discount for five copies.  The influence of Yuan Zaju on Southern Opera led to the further maturity of Southern Opera (called Legend in Yuan and Ming Dynasties), and a series of typical dramas appeared, such as "Worshiping the Moon Court" and "Pipa Story".  These scripts have been passed down from generation to generation and are still being performed today.

    At that time, the style of the northern and southern songs had been preliminarily established. The northern song was Shenxiong, which was dominated by the seven-tone scale;

    The national musical instrument Sanxian appeared in the Yuan Dynasty.

    With the development of opera art in the Yuan Dynasty, there appeared a monograph summarizing the theory of opera singing, that is, "Singing Theory" by Nanzhi'an.

    Zhou Deqing's "Zhongyuan Yinyun" is the earliest rhyme book of Beiqu. He divided the northern language into 19 rhyme parts, and divided the tones into four types: Yinping, Yangping, Shangsheng and Qusheng.  This has a great influence on the study of phonology and the development of opera and rap music in later generations.  (Remember the site URL: www.hlnovel.com
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