The study of Nanguan Zhitao <Chenshang Huadeng>

碩士 === 國立臺南大學 === 國民教育所國語文教育學教學碩士班 === 91 === Nanguan is a folk music rooted from Quanzhou dialect system in China. The melodies of this music can be played now includes zhi (vocal suite), qu (individual aria) and pu (instrumental suite). The document uses <Chenshang Huadeng>, one of the 5 ma...

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Bibliographic Details
Main Authors: Chiou-hua Lin, 林秋華
Other Authors: none
Format: Others
Language:zh-TW
Published: 2003
Online Access:http://ndltd.ncl.edu.tw/handle/jeuzdb
Description
Summary:碩士 === 國立臺南大學 === 國民教育所國語文教育學教學碩士班 === 91 === Nanguan is a folk music rooted from Quanzhou dialect system in China. The melodies of this music can be played now includes zhi (vocal suite), qu (individual aria) and pu (instrumental suite). The document uses <Chenshang Huadeng>, one of the 5 major zhitao, as the study subject to explore the plays and stories from which the lyrics derive, versions, dialect, literature and music composition. Chapter one introduces the spreading and content of Nanguan music, and summarizes the arrangements of playing Nanguan. Chapter two looks into the story of <Chenshang Huadeng>. The words of <Chenshang Huadeng> describe the date between Wang Yueying and Guo Hua at Xiangguo temple. The result of the date leaves Wang Yueying no choice but to leave her shoes for Guo Hua’s reminder due to his total drunkness. This chapter compares and discusses versions also of different dynasties pertaining Guo Hua’s stories, and sorts out the lyrics of such stories in Nanguan music. Chapter three compares various headings, sections and lyrics of different versions, includes the Liyuan Theater (classical drama) and Nanguan music, of <Chenshang Huadeng> with author''s viewpoints. Versions compared include Man-tian-chhun, 1604, Wenhuantang zhipu, 1857, Quannan zhipu chongbian by Lin Hong, 1922, Minnan yinyue zhipu quanji by Liu Honggou, 1953, and other manuscripts that make up the total to 15 versions. Chapter four collates, marks with phonetic symbols of, discusses the pronunciations and rhymes of and explains the lyrics of <Chenshang Huadeng>. Chapter five analyzes the forms and types of <Chenshang Huadeng>: includes comparing the scores of Wenhuantang zhipu and Minnan yinyue zhipu quanji by Liu Honggou, analyzing 15 repeating melodies and sorting out special fingerings of <Chenshang Huadeng>, and then closing with master Zhang Hong-ming’s singing and chanting score to illustrate its art of grace note. <Chenshang Huadeng> marvels people with high combination of its era of forming, words of antiquity, lyrics of literature value, complexity of melody composition, dialect and music, and, therefore, is a good subject for thorough exploration.