Theatrical Uses and Musical Features of Jin-La-Man- Chang Rhythmic Mode in Que-Bo-Luan-Tan Xiqu
Date Issued
2016
Date
2016
Author(s)
Hsia, Lu-Ting
Abstract
The jin-la-man-chang (slow singing with fast accompaniment) rhythmic mode, present in many banqiang xiqu, carries a distinctive expressive power. The accompaniment plays one beat per bar, while the vocal line is unmeasured. The shape of the accompaniment helps to effectively convey the actions and emotions of the characters in the drama. This study is an analysis of the theatrical uses and musical characteristics of jin-la-man-chang, to see how this rhythmic mode achieves its dramatic effect in luantan xiqu. We have found that the theatrical uses of jin-la-man-chang are most often to support actions and distinct emotions, while musical analysis shows that the relationship between accompaniment and voice is not always a heterophonic one, but is rather closer to instrumental riffs in popular music. In the Peking opera Xu Ce Climbs the City Walls (using yaoban rhythm in a gao bozi mode), the tempo of the music changes in accordance with the emotions of the characters in the drama; the repeated motifs in the huqin serves to enhance the audience’s feeling of anticipation, while at the same time accompanying the acrobatic movements of the actors. The jin-la-man-chang rhythm is a distinctive way of depicting movement in music in banqiang xiqu, possessing a particularly pioneering function in the development of xiqu.
Subjects
Que-Bo-Luan-Tan
Jin-La-Man-Chang
Emotion
Xiqu Movement
Riff
Type
thesis
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