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Turkish Journal of Physiotherapy and Rehabilitation; 32(3) ISSN 2651-4451 | e-ISSN 2651-446X THE CHARACTERISTICS OF THE INSTRUMENTAL REPERTOIRES IN CAIDIAO OPERA Liao Shasha1, Jarernchai Chonpairot2 1Ph.D. Student, College of Music, Mahasarakham University 2Assistant Professor of college of Music, Mahasarakham university ABSTRACT This article project entitled “ The Characteristics of the Instrumental Repertoires in Caidiao Opera in Guilin City, Guangxi Province, China” aimed to 1) understand the accompany instruments of Caidiao opera; 2) study the instrumental repertoires of Caidiao opera; The study employed the qualitative research methodology, documentary studies and field studies in Guilin city Guangxi province to collect the data of the Caidiao opera. The Caidiao opera also known as "Diaozi (tune)", and "Diaozixi (Diaozi)". It is a local traditional opera in Guilin City, Guangxi Province, China. This research has a certain guiding significance to understand and study the music of Caidiao opera. Keywords: Instrumental Repertoires; Caidiao Opera; Guilin City I. INTRODUCTION Caidiao opera is a local traditional opera in Guilin City, Guangxi Province, China. It is also known as "Diaozi (means tune)", "Cai Cha (Cai means pick; Cha means tea-leaves)", "Hua Gu (Hua means flower; Gu means drum)", "Hua Deng (Hua means flower; Deng means lantern)", "Shua Mudan (Shua means play, Mudan means peony)", "Na Huo Hai (refers to one type lining words)". It is popular in the northern, central, northwestern and southwestern regions of Guangxi Province, as well as towns and villages in Hunan, Yunnan Province and Guizhou Province near Guangxi Province. Qiu Zhensheng's article mentioned that, Zhong Zeqi's article mentioned that, "Caidiao opera originated in the late Ming Dynasty (1644), which evolved from the Caidiao song and dance in ancient folk 'Shehuo (refers to the traditional collective celebration activities held during the festival in ancient China)' traditional celebration ceremony. Due to social turbulence, class contradictions and intensification of national contradictions, in the mid-Qing Dynasty (around 1670), the Caidiao songs and dances in folk 'Shehuo' traditional celebration ceremony gradually developed into a contradictory and conflicting form of opera." Shen Ting's article mentioned that, "In 2006, Caidiao opera was listed in the fisrt batch of national intangible cultural heritage list published by the State Council of China (Serial number and project name: Ⅳ-76 Caidiao Opera) ". This research "On the Characteristics of the Instrumental Repertoires in Caidiao Opera" has a certain guiding significance to understand and study the music of Caidiao opera. www.turkjphysiotherrehabil.org 12636 Turkish Journal of Physiotherapy and Rehabilitation; 32(3) ISSN 2651-4451 | e-ISSN 2651-446X Objectives 1. To understand the accompany instruments of Caidiao opera. 2. To study the instrumental repertoires of Caidiao opera. Research Methodology This qualitative research study employed the data collected from documents, field studies, surveys, observations and interviews. Research Procedure 1. Collect data from related documents. Such as articles, books and historical documents related to the introduction of Caidiao opera. 2. Conduct field studies by collecting data based on interviews with one key informant, two casual informants and two general informants who know about Caidiao opera in Guilin city, Guangxi province, China. Key Informant: Mrs. Tang Jie was born in 1944 in Quanzhou County, Guilin City, Guangxi Province, China. She started study Caidiao opera in 1957. Casual Informant: Mrs. Lai Dandan was born in 1981 in Lipu County, Guilin City, Guangxi Province, China. She started study Caidiao opera in 1996. Mr. Gong Yi was born in 1946 in Pingle County, Guilin City, Guangxi Province, China. He started study Caidiao opera in 1961. General Informant: Mrs. Gong Lianzhen was born in 1951 in Pingle County, Guilin City, Guangxi Province, China. She started study Caidiao opera in 2002. Her educational attainment is Pingle County Junior middle school. Mrs. Li Shanshan was born in 1947 in Lingui District Guilin City, Guangxi Province, China. Her educational attainment is Guilin High school. She likes Caidiao opera and often watches CDs or live performances. Research Results The mode composition of Caidiao opera belongs to the pentatonic mode of traditional Chinese music. Pentatonic mode, or pentatonic scale, is the scale of Chinese music. The five notes are named as: "宫 (Gong)", "商 (Shang)", "角 (Jue)", "徵 (Zhi)", "羽 (Yu)". They are roughly equivalent to the roll-calls of Western music: "do", "re", "mi", "sol", "la". Move the five notes into an octave in high and low order, and the names of the five notes are as follows: do re mi sol la 宫 商 角 徵 羽 www.turkjphysiotherrehabil.org 12637 Turkish Journal of Physiotherapy and Rehabilitation; 32(3) ISSN 2651-4451 | e-ISSN 2651-446X II. THE ACCOMPANIMENT BAND OF CAIDIAO OPERA Mr. Gong Yi said that, "The accompaniment instruments to Caidiao opera are: Orchestral instruments include Erhu , Yangqin, Pipa, San Xian, Suona, bamboo flute. Erhu is the main accompaniment instrument. And percussion instruments include gong, drum, cymbals, 'Mu Yu ( As shown in Figure 1)' and other instruments." Figure 1: Music instrument of Caidiao Opera https://www.pinterest.com/pin/378724649899898144/ Mrs. Lai Dandan said that, "The instruments' accompaniment form of Caidiao opera is that the orchestral instruments are placed on 'Zuo Chang (Zuo means left, Chang refers to stage)' and percussion instruments are placed on 'You Chang (You refers to right, Chang refers to stage)'. 'Zuo Chang' refers to from the performers' point of view, the left side of the stage. 'You Chang' refers to from the performers' point of view, the right side of the stage. But now the performance basically does not divide the 'Zuo Chang' and the 'You Chang', all the instruments are playing together, most of them are on the left field of the stage, because there are audio equipment on the right side." (Interview Time: on June 5, 2019) III. THE CHARACTERISTICS OF INSTRUMENTAL REPERTOIRES IN CAIDIAO OPERA The instrumental repertoires of Caidiao opera refer to the tune played only by musical instruments, without lyrics. Mr. Gong Yi said that, "The instrumental repertoires of Caidiao opera include 'Leng Tai Qu (Leng refers to calm, Tai refers to locale or stage, Qu refers to tune or melody)' and 'Luo Gu Qu (Luo refers to gong, Gu refers to drum, www.turkjphysiotherrehabil.org 12638 Turkish Journal of Physiotherapy and Rehabilitation; 32(3) ISSN 2651-4451 | e-ISSN 2651-446X Qu refers to tune or melody)'. In many traditional opera of Guangxi, some instrumental tunes can be used each other. For example, 'Jie Jie Gao (refers to people's expectation of a better life)' (As shown in Figure 11), 'Liu Qing Niang (refers to a geisha's name in the Tang Dynasty)' (As shown in Figure 12), 'Shui Long Yin (Shui refers to water, Long means dragon, Yin refers to Chant)' (As shown in Figure 13) in 'Leng Tai Qu' of Caidiao opera is the common instrumental tune in Caidiao opera and Guangxi Wenchang." Figure 2: Music score example "Jie Jie Gao (refers to people's expectation of a better life)" (Zhang Guangxiong, Cai Dingguo 张光雄, 蔡定国, "A Hundred Traditional Repertoires of Caidiao Opera 彩调传统唱腔一百曲", 1981) Figure 3: Music score example "Liu Qing Niang (refers to a geisha's name in the Tang Dynasty)" (Zhang Guangxiong, Cai Dingguo 张光雄, 蔡定国, "A Hundred Traditional Repertoires of Caidiao Opera 彩调传统唱腔一百曲", 1981) www.turkjphysiotherrehabil.org 12639 Turkish Journal of Physiotherapy and Rehabilitation; 32(3) ISSN 2651-4451 | e-ISSN 2651-446X The function of "Leng Tai Qu (calm locale tune)" is mainly to meet the needs of the plot and to set off the atmosphere. For example, "Shui Long Yin (water dragon chant)" is used when performers walk on the stage, feed chickens, clean the house, and carry props. "Liu Qing Niang (refers to a geisha's name in the Tang Dynasty)" is used by performers when they do various stylized actions. The function of "Leng Tai Qu (calm locale tune)" is strong, which is an important part of the story plot development of Caidiao opera. "Luo Gu Qu (gong and drum tune)" is the most representative instrumental repertoire in Caidiao opera. Its musical instruments are: Huqin, battle drum, small gong, middle cymbals and big gong. Four of the five instruments are percussion instruments, so it is characterized by "make a noise". The most characteristic of "Luo Gu Qu (gong and drum tune)" is "Chang Luo (Chang means long, Luo means gong, also known as 'a dragon')". The melody of "Chang Luo (long gong)" is lightly and lively, and the atmosphere is vivacity and lightheartedness when playing. It is often used for: roles appear, roles exit, roles do stylized action. (As shown in Figure 14) Zhong Zeqi's article mentioned that, "In the past, in the vast rural areas of Guilin, whenever people heard the sound of gongs and drums in 'Chang Luo (long gong)', people would take flashlights or torches out to watch Caidiao opera." It can be seen that "Chang Luo (long gong)" is the most characteristic of tunes in Caidiao opera. There are two distinctive tunes in "Luo Gu Qu (gong drum tune)", namely "Yi Bo (Yi means one, means cymbal)" and "Si Bo (Si means four, Bo means cymbals)", which are often used together with singing tunes. "Yi Bo (one cymbal)" is often used after one phrase of a tune. "Si Bo (four cymbals)" are sometimes used as prelude and epilogue for singing tunes. The biggest difference
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