Keywords
How to Cite
Abstract
Background: Poyang Drum is a kind of Chinese folk art forms that is popular in Poyang County, Jiangxi Province, including Jingdezhen, Leping, Shangrao areas of Jiangxi Province. During the Tongzhi period of the Qing Dynasty, it was introduced by Zhang Kunshan, a native of Huainan, Anhui Province, with a history of about 160 years. Purpose: The purpose of this article is to summarize the artistic characteristics and language rules of Poyang Drum and explore some commonalities and personalities of Chinese folk art forms in the form of lyrics and tune, so that more musicians can use this as a reference and better inherit and promote Chinese folk art forms culture. Methods: This paper uses literature analysis, music form analysis combined with linguistics research methods to analyze Poyang Drum 's lyrics, tune, and the aesthetic characteristics of the lyrics. Results: Poyang Drum through inheritance and development, dialect, Poyang folk tunes, fishing songs and so on into the integration. The basic sentence patterns of its lyrics can be divided into seven words sentence, four words sentence, ten words sentences, etc., and there are rich interlining words. The basic plate has allegro, Lento, adagio, rubato, etc. which are all performed by the artist's improvisation and flexible use. Poyang Drum 's lyrics are mainly narrated, with Poyang dialect as the keynote. The tune is soft and simple, full of rhythm and musicality. Strong impromptu, singing style is not stylized. The dialect is closely combined with the singing, adding the slang and contrast words rich in Poyang characteristics. Conclusions: This paper holds that it is a mixed art form between the qupai and the plate cavity.
References
Cai, Y. L. (2015). The aesthetic expression of the relationship between tunes and lyrics and narrative characteristics in quyi music. Quyi, (07), 21–23.
Cao, Q. C. (2014). The changes of Poyang Fishing Drum from the perspective of music communication studies. Music Communication, (04), 78–86.
China Quyi Music Integration Committee. (2008). Integrated Chinese Quyi Music: Jiangxi Volume. China ISBN Center.
Guo, B. Y. (2013). Research on Dongbei Dagu tunes and lyrics (Master’s thesis, Shenyang Conservatory of Music). DOI:CNKI:CDMD:2.1014.009438.
Han, X. Q., & Wang, H. J. (2023). A study of the vocal-lyric relationship in the singing of the song & dance duet traditional opera: Exampling The Fifth Brother Herding Sheep. People’s Music, (4), 52–55.
Li, F. (2018). Discussion of transmission and development of “Poyang Dagu” in contemporary communication context: Taking Shai Qiu for example. Music Communication, (4), 29–34, 45. DOI:CNKI:SUN.0.2018-04-006.
Li, G. Q., & Fu, B. Y. (2004). Gan Culture Chronicle. Jiangxi Education Publishing House.
Poyang County Annals Compilation Committee. (2010). Poyang County Annals (Part 1). Fangzhi Publishing House.
Qiu, A. J., Tian, R., Chen, F. Y., & Rong, B. J. (2022). Research and modeling of the relationship between the music and text of the Kun Opera tune “Ba Sheng Gan Zhou.” Journal of Nanjing Arts Institute: Music & Performance, (4), 96–105.
Shen, Q. (2008a). Notes on Yu Huiyong’s Studies of the Relations between Melody and Words (Ⅱ). Music and Art (Journal of Shanghai Conservatory of Music), (1), 21–30. https://doi.org/10.19359/j.cn31-1004/j.2008.01.003
Shen, Q. (2008b). Notes on Yu Huiyong’s Studies of the Relations between Melody and Words (Ⅱ, Chapters 5 and 6). Music and Art (Journal of Shanghai Conservatory of Music), (2), 61–72. https://doi.org/10.19359/j.cn31-1004/j.2008.02.008
Wu, D. (2023). The establishment and breaking of traditional Chinese opera rhythm: A historical study of the relationship between qupai rhythm and lyrics. Journal of National Academy of Chinese Theatre Arts, (2), 110–117. https://doi.org/10.15915/j.cnki.cn11-1172/j.2023.02.022
Yu, H. Y. (2008). Research on the relationship between tunes and lyrics. Central Conservatory of Music Press.
Zhang, M. X. (2014). A study on the relationship between folk music tunes and lyrics in Xinfeng County, Gannan (Master’s thesis, Wuhan Conservatory of Music). URL:https://kns.cnki.net/kcms2/article/abstract?v=xBNwvqFr00JHrKjndSl6K45ekgLPhIPoc9E4L1vtrlH41hoWqg4l0xdZulVDuKg3w4al4hwYC1wrzT9YqJCsSGjCelEeD4kFjwO5BN0BIKmsArrvRQhROOHUptL6cqzUtH7sRJS-Ff4kOEeYWdhD0w==uniplatform=NZKPTlanguage=CHS
Zhou, Y. (2021). Continuance of music tradition and changes of traditional music. Journal of The Central Conservatory of Music, (02), 33–42. https://doi.org/10.16504/j.cnki.cn11-1183/j.2021.02.003
This work is licensed under a Creative Commons Attribution 4.0 International License.
Copyright (c) 2023 The Author(s). Published by Journal of Global Arts Studies.