On the Origin and Diffusion of the Pihuang Tune Series
Resource
臺大中文學報, 25, 199-237
Journal
臺大中文學報
Journal Issue
25
Pages
199-237
Date Issued
2006-12
Date
2006-12
Author(s)
Tseng, Y.Y.
Abstract
Pihuang qiang (tune) is a compound tune which combines xipi and erhuang tunes. Xipi qiang, Xiangyang diao (tune) and Chu diao are all the same thing though they bear different names. Xipi qiang has complex origins: after the Shan-shen (referring to the provinces of Shanxi and Shenxi) bangzi was introduced into Xiangyang of Hubei province, it fused with the local tune of Xiangyang. Since “Chu” is the short name and also the ancient name of Hubei, xipi qiang was also called “Chu diao” or “Xiangyang diao”. People in Hubei used to call lyrics “pi,” and Shan-Shen bangzi came from the west part of the province; hence the name “xipi”. Xipi qiang had become very popular nationwide during the Chongzhen period of the Ming dynasty; it diffused into Jiangsu and Fujian during the Kangxi period. Later during the reign of Qianlong, it was disseminated to the following provinces: Guangdong, Zhejiang, Sichuan, Yunnan, Guizhou and Jiangxi. Erhuang qiang originated from Yihuang of Jiangxi province. It was actually a combination of thelocal tune of Yihuang and xiqin qiang erfan, which spread out during the Wanli period. When erhuang qiang prevailed into the provinces of Jiangxi and Zhejiang, four written forms were adopted to refer to it: “yihuang,” “yiwang,” “erhuang” and “erwang.” Eventually, erhuang became themost popular one. Yihuang qiang surpassed other various tunes and gained its popularity in Beijing during the reigns of Kangxi and Qianlong; prior to the reign of Qianglong, it had already diffused into Jiangxi, Zhejiang, Anhui and Hubei. The fusion of xipi and erhuang qiang first took place in Xiangyang during the Qianlong period, to be followed by Beijing and Yangzhou. Between the reign of Qianlong and the reign of Jianging, the Anhui opera troupe still performed in pihuang qiang together with Jing qiang and Qin aiang. Afterward, they gradually paid more attention to pihuang and finally centered only on pihuang. In 1840, the pihunag had undergone its process of Beijing-ization and existed through the perioids of Xianfeng, Tongzhi and Guangxu, a time when the Beijing opera reached its maturity. At the same time, the Beijing opera spread throughout all over the nation, and there were eighteen kinds of pure pihuang opera and thirty-seven kinds of what blended pihuang with other various tunes, a fact that can fully indicate that pihuang tune series has exerted a large influence over modern local dramas.
Subjects
腔調
皮黃腔
西皮腔
二黃腔
梆子腔
楚調
襄陽調
宜黃腔
四大徽班
京劇
Qiangdiao
Pihuang qiang
Xipi qiang
Bangzi qiang
Chu diao
Yihuang qiang
The four main Anhui opera troupes
Beijing opera
Type
journal article
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