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An Analysis of Nanyin in Cantonese Opera Professor Chan Sau Yan (Learning and Teaching Material for Teachers’ Reference)

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An Analysis of Nanyin in Cantonese Opera Professor Chan Sau Yan (Learning and Teaching Material for Teachers’ Reference) An Analysis of nanyin in Cantonese Opera Professor Chan Sau Yan (Learning and teaching material for teachers’ reference) Produced by Mr Lee Siu Yan, Mr Chow Shi Shum and Miss Chui Shing Yan Introduction Teaching yueju (粵劇) (Cantonese opera) and yuequ (粵曲) (Cantonese operatic song) as a music subject in the school curriculum must begin with listening to and appreciating the operas and songs, as well as attending live performances. In addition, these activities must work together with lectures to enable students to understand the basic structure and attraction of Cantonese opera music. nanyin (南音) is originally a music genre which is independent from opera. Belonging to a kind of shuochang (說唱), i.e., ballads, nanyin had been popular in the region of the Pearl River Delta and performed in Cantonese all along. Since the early 1920s, nanyin has been incorporated into Cantonese opera and Cantonese operatic songs, forming a shuochang system together with muyu (木魚), longzhou (龍舟), banyan (板 眼) and yue’ou (粵謳). And shuochang, banqiang (板腔) and qupai (曲牌) constitute the three major changqiang (唱腔) systems of Cantonese opera and Cantonese operatic songs. This unit will help teachers and students understand the features of the basic structure of yueju nanyin. Glossary baban banmian (八板板面) kuaiban (快板) ban (板) kuhou (苦喉) banmian (板面) laqiang (拉腔) banqiang (板腔) lianhuan nanyin (連環南音) banshi (板式) liushuiban (流水板) banyan (板眼) liu (六) baziju erhuang manban (八字句二黃慢板) liuzixu (六字句) baziju zhongban (八字句中板) longzhou (龍舟) changdiding (唱底叮) muyu (木魚) changduan (唱段) nanci (南詞) changguoxu (長過序) nanyin (南音) changju erhuang manban (長句二黃慢板) paihe (拍和) changqiang (唱腔) qiang (腔) changqiang (長腔) qinrenyun (親人韻) changxu (長序) qishi (起式) che (尺) qiziju (七字句) chenzi (襯字) qiziqing zhongban (七字清中板) chezixu (尺字序) qupai (曲牌) dengtengyun (登騰韻) sanban (散板) dingban (叮板) senlinyun (森林韻) duanbanmian (短板面) shang (上) duanqiang (短腔) shangping (上平) duanxu (短序) shawei (煞尾) dun (頓) shiban banmian (十板板面) fanzixu (反字序) shiziju zhongban (十字句中板) gong (工) shuobai (說白) gongchepu (工尺譜) shuochang (說唱) guji (瞽姬) tanci (彈詞) guoxu (過序) tichang (提場) gushi (瞽師) touding (頭叮) he (合) toujia (頭架) hezixu (合字序) weiding (尾叮) huiwen nanyin (迴文南音) wenwusheng (文武生) jiadun (加頓) xiajia (下架) jiahua (加花) xiaping (下平) jushi (句式) xu (序) kailaiyun (開來韻) xubai (序白) yiban sanding (一板三叮) yiban yiding (一板一叮) yifan (乙反) yifan erhuang manban (乙反二黃慢板) yifanxian (乙反線) yingtou (影頭) yinzi (引子) yue’ou (粵謳) yueju (粵劇) yuequ (粵曲) ze (仄) zhangban (掌板) zhengwen (正文) zhengxian (正線) zhengyin huadan (正印花旦) zhengzi (正字) zhongding (中叮) zhuiqiang (追腔) Translation of masterpieces: “A Sorrowful Journey in Autumn”《客途秋恨》 “Begging”《乞食》 “Cui’e Giving the Pagoda as Gift”《翠娥贈塔》 “Farewell My Concubine”《霸王別姬》 “Loosing the Red Sack”《背解紅羅》 “Lust is the Worst Vice”《萬惡淫為首》 “The Ballad of River Chu in Autumn”《吟盡楚江秋》 “The Goddess”《觀音得道》 “The Imperial Appeal”《梁天來告御狀》 “The Pearl Pagoda”《珍珠塔》 Contents I. Guangdong shuochang – A Brief Introduction to nanyin II. An Analysis of the Structure of Three nanyin changduan III. The Scripts of Three nanyin changduan IV. Teaching Suggestions V. Extending Reading VI. References I. Guangdong shuochang – A Brief Introduction to nanyin shuochang is a major Chinese music genre. It has the characteristic of intermixing shuobai (說白) and changqiang by the performer to tell the story to the audience in a very economical way. There may be more than one performer, sometimes up to three or five. More than 200 shuochang genres can be found within the territory of China. It can be said that there is at least one shuochang genre in each dialect region of every province. nanyin, muyu, longzhou, banyan and yue’ou are the five shuochang genre performed in Cantonese around the region of the Pearl River Delta. According to Cai Yanfen’s Composing and Writing nanyin, longzhou and muyu《南音、龍舟和木魚的編寫》, there are three arguments about the origin of these Guangdong shuochang genres: (1) nanyin was developed on the basis of muyu and longzhou while incorporating the tones of Yangzhou tanci (彈詞); (2) the singing style and tone of nanci (南詞) troupes, which were different from those in Guangdong music, were introduced into Guangdong and combined with longzhou and muyu to become nanyin; and (3) the shuochang artists in Guangdong absorbed and then “processed” Yangzhou tanci to refine it into the highbrow nanyin (Cai Yanfen 1978: 1-2). But Chen Zhuoying in The Knowledge of Writing and Singing Cantonese Operatic Songs《粵曲寫唱知識》(Volume 2, Revised Edition) believed that nanyin came into existence only after the singing style and tone of nanci troupes were introduced into Guangdong (Chen Zhuoying 1985: 25) In the mid-20th century, blind male and female artists (respectfully addressed as gushi (瞽 師) and guji (瞽姬)) in towns and cities around the Pearl River Delta were often hired to perform at private residences, restaurant banquets and brothels. In addition, they also performed nanyin in public places. nanyin lyrics are qiziju (七字句), i.e., seven words in a line. Existing nanyin pieces are in numbers, such as, to name a few, “The Imperial Appeal《梁天來告御狀》” , “The Goddess” 《觀音得道》, “Loosing the Red Sack”《背解紅羅》, which are long pieces, and “A Sorrowful Journey in Autumn”《客途秋恨》and “Farewell My Concubine”《霸王別姬》, which are shorter. Traditional nanyin pieces were mostly long ones, which became even longer as shuochang artists interlaced changduan (唱段) with improvised shuobai. Today nanyin that is commercially produced and distributed as records has lost this traditional colour as the shuobai parts are usually deleted or the long texts are condensed. A nanyin piece often consists of several changduan, each with its own qishi (起式), zhengwen (正文) and shawei (煞尾). However, some short pieces have only one or two 1 changduan; e.g. “A Sorrowful Journey in Autumn”, which has two parts, each part being a changduan itself. Since the early 20th century, shuochang genres such as nanyin, muyu and banyan have been abundantly introduced into Cantonese opera and Cantonese operatic songs and incorporated into the changduan of qupai and banqiang. For example, in “Lust is the Worst Vice《萬惡淫為首》” , which cast the late big-name actor Xin Ma Shizeng, the theme song “Begging”《乞食》begins with zhengxian (正線) nanyin, then changes to yifan (乙反) mode and to yifan erhuang manban (乙反二黃慢板). Composers and performers of Cantonese operatic songs usually handle nanyin in a very flexible way to provide more variations for these shuochang passages. Abstracts from《華夏樂韻》, (Chan Sau Yan 1998: 183-184) 2 II. An Analysis of the Structure of Three nanyin changduan Three yuequ changduan: “The Ballad of River Chu in Autumn”《吟盡楚江秋》(changduan 1), “Begging” of “Lust is the Worst Vice” (changduan 2) and “Cui’e Giving the Pagoda as Gift” of “The Pearl Pagoda”《珍珠塔･翠娥贈塔》(changduan 3) are used here as basic teaching materials to analyse the features of the structure of nanyin. For the line divisions and dingban (叮板) structure of changduan 1 to 3, please refer to Tables 1 to 3 about the analysis of the line structure of changduan. A comparison of the basic structures of the three nanyin changduan can be found in Table 4. changduan 1 “The Ballad of River Chu in Autumn”, publishing year unknown (Hong Kong Cinema Friends Records Company, CF2001) The melodic yinzi (引子) (referred to as banmian (板面)by the profession) of zhengxian nanyin (simply referred to as nanyin by the profession) consists of the long and the short kinds. Long banmian is further divided into shiban banmian (十板板面) and baban banmian (八板板面). The difference between the two is their length. shiban banmian has ten ban (板) (yiban sanding1 (一板三叮) in every ban, meaning ten yiban sanding in these ten ban) and baban banmian has eight (i.e. eight yiban sanding). In the musical notation of Sample 1, the baban banmian of changduan 1 begins with the second or third beat of the first ban (i.e. the first bar)2 and continues till the eighth bar (i.e. the eighth bar). 1 As in Western music, the beat of yuequ music is called dingban, the first beat of each bar is ban, the second beat is touding (頭叮), the third beat zhongding (中叮) and the fourth beat weiding (尾叮). 2 The lyrics begin at the third beat. But the paihe (拍和) (accompaniment) begins earlier at the second half of the second beat. According to the convention of yueju and yuequ music accompaniment, these two notes are usually played by the toujia (頭架) (leader of the melodic section), xiajia (下架) (other musicians) begin at the third beat. For the music accompaniment of yueju and nanyin, please refer to “How To Accompany banghuang of Cantonese Operatic Music《粵曲梆簧怎樣伴奏》” (2006) by Huang Shaoxia. 3 Sample 1 baban nanyin banmian of “The Ballad of River Chu in Autumn” Sample 1 The “shang” (上 ) in gongchepu (工尺譜) is equal to the C note in staff notation: Traditionally, the last G note of banmian (please refer to the last note in Sample 1) has a note value of yiban sanding. The performer then begins singing immediately after this note at the ninth ban and the whole baban banmian therefore has eight ban. To achieve a compact effect, the G note in the eighth ban of nanyin changduan in contemporary yueju has the value of only one or two beats and is then connected with the changqiang, but still being referred to as baban banmian. shiban banmian begins at the first beat of the first ban and comes to the G note in the tenth ban. This G note also has the value of only one to two beats. The duanbanmian (短 板面) (referred to as duanxu (短序) by the profession) is produced by taking the last two ban of either baban banmian or shiban banmian, with the last G note being shortened to only one or two beats as a custom: 4 Sample 2 zhengxian nanyin duanbanmian in numbered musical notation ㄨ ヽ ヽ ヽ ㄨ Numbered musical notations are used in Sample 2 and the following two examples to show the pitch and the relation between the rhythm and dingban.
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