After investigation, there are nearly 100 kinds of sea salt literature, and there are 16 rhymes in the lyrics, such as fairy, reunion, apricot and sand flower. According to the basic characteristics, sea salt literature can be divided into two categories: "official books" and "soup books".
"Official Book", commonly known as "Divine Comedy Book", is a handwritten secret handed down from generation to generation or taught by teachers. The content of each book is a legendary story of a certain god or figure (a famous local figure was also named a god after his death). Rich in content and complete in plot. There are no objects, such as Huaguang and silkworm flowers, which are called "small axis books"; Bai Bin's "The Big Axis Book" is long, with many roles such as "Sheng", "Dan", "Jing" and "Mo" to sing, which is similar to today's drama. For example, see "Knowing the Year Too Old" (a manuscript in the fifth year of the Republic of China).
At the beginning and end of each song in the book, two sentences are sung for the rising tone and falling tone. There is a "clip theory" between the two sentences, which is divided into "single clip theory" and "double clip theory". The "single clip theory" is generally four sentences, and the "double clip theory" can be all kinds of qupai, such as a passage in "Miss Chen San": "The garden is full of flowers, and the peaches and willows are green (the initial tone). In spring, flowers and plants are blooming and irises are in pairs; Flowers are colorful and jasmine is fragrant (only with sand). Purple swallows wear curtains and merge, and mandarin ducks swim in pairs (falling tone). " [4] (Note: Research on Haiyan Cavity (internal data), prepared by Haiyan Cavity Art Museum. No.6 (1April 998), page 20. )
The beginning part of "Tang Shu" is called "Tang Tou" and the back part is called "Tang Shu". The format of Tang Shu is relatively free, and it can be said in fragments, sung to the end, rhymed to the end and rhymed. Literature can be divided into four categories according to melody: long tune, slow tune, soup tune, urgent tune and miscellaneous tune. 1. "Long-cavity slow songs" are generally used in "official books", accounting for the majority of the book, with seven, eight, nine and fourteen characters. They are lyrical and leisurely, and their words are sparse and round. The uncles help them sing "Lu Lai, Li Lulai" as a lining. Attached. "Zaqu" has been handed down from generation to generation, and it is also improvisation. Generally speaking, artists gradually evolved after absorbing local and foreign tunes in the process of singing, mainly inserting the main book. Most of Haiyan's documents are pentatonic, mainly in Gongdiao and Feather Tone, and there are also Shang Tone and Zheng Tone. The melody is smooth and there are many following behaviors. I think this has something to do with the falling tone of Haiyan dialect. Such as "Inner to Ali's Qi? Where are you going? The tone of this sentence is similar to "solmi re do". Melody from high to low, lyrical and beautiful. Multi-level early jump, mostly sophomore and junior, and occasionally pure four or five degrees. The five-step progressive method is adopted because the rotation method of step-by-step progressive is the softest, and there is no sharp second degree in the melody. The starting position of the phrase is the upper plate (strong rise), which is peaceful, smooth and catchy, such as Wang Cao in Beiyue with a long cavity.
In the sea salt literature, Xiang Shu sang "Lu Lai, Li Lu Lai", which is very similar to the sea salt cavity recorded in Kunqu opera, Jiangxi sea salt cavity and literature and history materials, such as "White Rabbit". Of course, they are not entirely coincidental. Haiyan literature is generally a single paragraph, with a narrow range, rarely exceeding octave, and the rhythm changes little. There used to be many leaning notes and Boeing as decorative notes, with almost no tone change and many time-varying beats, such as daffodils. There are few pauses, only occasionally used at the end of a sentence to catch my breath or pause, so the melody is basically full. The musical language of Haiyan literature is relatively simple. If it is a big axis book in the main book, it is necessary to comprehensively use various vocals, poems and rhymes to explain the plot and shape the characters. The timbre is often determined according to the singer's own voice conditions. It is really touching to pay attention to the combination of true and false sounds when singing. At the same time, it also requires calm, clear articulation, and coordinated singing and action performance. If it is a serious book, it usually has a plot, and often one person has to bear two or three roles at the same time. First, he announced himself, and then all the characters appeared. It has the characteristics of drama and is different from folk minor, which shows that it is in the same strain as Haiyan tune. The author interviewed Mr. Wu Guanjin (1925-), heard and witnessed his singing, and felt that his breath was smooth, his voice was very penetrating (it can be seen that it was achieved after a certain degree of special training), and his articulation was also very particular and charming. At the same time, it has the characteristics of singing voice, words, emotion, taste and spirit, including five or seven words in Tang and Song Dynasties.
Haiyan literature is different from ordinary Han folk tunes. According to old artists, the sacrificial activities of "Buddha" last for a long time, ranging from one day and one night to three days and three nights, and it is said that there are even seven days and seven nights. No matter how long it takes, the song can't be repeated, so it must be sung in full tune. At that time, most singers could sing dozens of documents. Judging from the collected literature, only the lyrics have no music score, and the singers are all male, so they are called "Mr. Sao Zi". Its name comes from "dragon boat" or "paper man" who needs to burn paper after singing, so it is called "burning paper" (taking its homonym); Because it is difficult to sing, I am very respected and called "Sir". Mr. Saozi is generally handed down from generation to generation, and some have been taught by teachers since they were five or six years old. In the off-season of winter and spring, activities are often held, which are semi-professional. It is a comprehensive art which takes rap in local dialect as the main form, mostly in narrative form, telling stories, portraying characters, expressing thoughts and feelings and reflecting social life, and is deeply loved by ordinary people. Like the singing form of Haiyan Opera, there is no accompaniment of silk and bamboo, and it is a chorus form without makeup. The situation of being invited by the gentry and the rich family to sing in your house is just like that when Haiyan's children went to the dignitaries' home to sing the words in Haiyan's cavity, and the content they sang was full of traditional opera flavor. From this point of view, it shows some traces of sea salt cavity. Singers are different from witches and monks. The sacrificial deities include Confucianism, Buddhism and Taoism, and are presided over by a palm altar that is proficient in Le Shu, cutting, painting, writing, kneading and tying. The rest are called visiting teachers. The ceremony is usually held in the master hall, with various names, such as square tables, chairs and coffee tables. According to legend, there are thirteen seats at most (a table with a square of 100 is required), and various color-printed paper statues are inserted in front of each seat, which are called "Mayi", also known as "paper canon", such as Jade Emperor, Guanyin and Land. There are hundreds of sacrifices on the table, including pigs, chickens and fruits. There is no space on the table. The whole ceremony is called "Buddha", which means to entertain the Buddha and pray for the blessing of the gods. It is both solemn and pious. Before receiving the gods, the hall was cleaned, doors and windows were washed, pigs and sheep were slaughtered, the master and the men in the clan bathed and changed clothes, the women avoided, and after midnight, they received the gods with sandalwood in their hands, and the brand came out of the hall (invited by another band) with suona to meet them, and firecrackers rang in unison, which was very lively. After sitting down, Mr. Sao Zi began to sing. The next morning, I began to knead various offerings with rice noodles; At the end of the afternoon, I sang the first soup (tofu coat) to explain the making process of tofu coat, and made a soup head called "soup book". At midnight, the second soup (Yuanxiao) and the third soup (tea) are served. At that time, there were also new soup books adapted to current events, such as sharply criticizing the extortion of reactionaries, "Japanese came in" and "Pucheng robbers robbed", which criticized the shortcomings of the times and were very popular. In the middle of the night, in order to send away the gods (because the legendary ghosts haunt at night), I sent the tied dragon boat to the river to burn, shouting loudly and looking dignified all the way. Then, sing "Give", kneel before the next banquet and tell the gods to cancel this "wish"; Sing all kinds of songs until dawn; It was not until everyone sang the song "From Lu, Never" that the ceremony of offering sacrifices to God was all over. Yong 'an Lake (now Nanbei Lake)
To sum up, there is a close relationship between Haiyan literature and Haiyan drama, which can be roughly summarized as: 1. Both of them are popular in Haiyan County, and Haiyan Opera occupies an important position in the history of China opera development, and its influence is self-evident. Besides, in the same place, all kinds of art forms always penetrate each other. 2. Both of them are used in occasions (places) where rich people entertain, and singers wear dresses. Haiyan costumes can be found in an illustration of Haiyan children's play in the Ming version of Jin Ping Mei Hua Ci. In the hall, the gentlemen's guests on both sides are drinking and watching the play, while the people in the harem are hanging indoors to watch the play, and the two characters in the middle are performing in ancient costumes. 3. Haiyan Literature also has drama traces similar to Haiyan Room, full of life, Dan, purity, end and ugliness. Haiyan singing, accompanied by gongs, drums and clappers, without strings; Haiyan's literature is generally accompanied by strings, and singers often secretly clap their hands to master the rhythm. 4. Both of them have the form of chorus, with the help of "Lu Lai, Li Lulai". This point has been proved in the legendary edition of 1967 "The New Edition of Liu Zhiyuan White Rabbit Returning to the Native" unearthed in Jiading, Shanghai. At the beginning of the play, the first sentence is: "Come to Li Lailu and Li Lai ..." This tune is also found in the "Four-level Tune" in Fujian and the "God of Wealth Tune" before the performance of the original class of "Meng Opera" in Jiangxi. This shows the connection between the two. According to the law of the development of national art, generally speaking, Haiyan tune should absorb the book of Haiyan. 5. Both use long and short sentence patterns and various qupai. 6. Both songs are fluent, fluent and lyrical. The ancestors of Tang Ming once said, "Haiyan has a quiet and beautiful accent." The difference is that Haiyan dialect is sung in Mandarin, and "extra words for guests" means "... Haiyan is Mandarin, which is used by Beijingers". It spreads among the literati class, so it can spread all over the country; Most of "Haiyan Document" is sung in dialects (but when I heard Mr. Wu sing, I found that some words are not entirely Haiyan dialect), which is also the reason why "Haiyan Document" has been circulated and maintained.
In a word, there are echoes of sea salt cavity in sea salt literature, and they are inextricably linked. In fact, even after the rise of Kunshan Opera and its popularity in China, Haiyan Opera has been performed in parallel with it for 200 years. "Haiyan cavity, like other vocal cavities, can neither suddenly appear nor disappear inexplicably. At least we can find clues to evolution. [5] (Noe: Ye Changhai's Qu Xue and Drama, 1999 1 1, p. 50. We can imagine that all kinds of arts in his hometown will inevitably penetrate into the form of brotherly art. According to Mr. Zhou Dafeng, a music theorist, "The shadow play in Haining (the neighboring county of Haiyan) is reserved for internal performance ... It is found that there is a qupai called the first song, which seems to be similar to the Kunqu opera" Bean Leaf Yellow ". The old artist said that the only Haiyan tune handed down from the previous generation was "Zupai". According to textual research, there are indeed two kinds of qupai in Kunqu Opera, one is' Double Tune Northern Qupai', and the other is' Lu Xian Entering Double Tune Southern Qupai', both of which are southern opera qupai in the Song and Yuan Dynasties. Haiyan opera is also divided into north and south, and the first song is connected before and after, which is of great research value. "
It is true that experts and scholars generally believe that "Sea Salt Chamber" is not extinct, but it is a long-term and arduous task to find and excavate it, especially in the absence of music and audio materials. Today, we rescue, sort out and discuss the "sea salt literature" that is about to disappear in Haiyan area, which undoubtedly has positive practical significance and historical value for the study of sea salt cavity. In particular, we should pay close attention to recording the vocals of living old artists into VCD and save them. We can also rehearse the whole ceremony of "Buddha" and make it into a CD, which will help to preserve the precious cultural heritage of the Chinese nation. Because of this, Haiyan County People's Government attached great importance to the study of Haiyan Opera, specially set up Haiyan Opera Art Museum (to be determined), edited and sorted out 24 internal materials, and held the "First Symposium on Haiyan Opera" in the scenic Nanbei Lake (Andy's hometown) from June 7 to 10, 2000. More than 20 drama experts and scholars from all over the country watched the Haiyan opera performance in Jiangxi. On May 22nd, 2002, Tang Xianzu Art Experimental Troupe of Fuzhou City, Jiangxi Province, the only troupe in China that performed Haiyan Opera, was invited to participate in "China Haiyan Nanbei Lake Tourism Festival", and its wonderful performance caused a sensation in the local area. We believe that through careful, meticulous, arduous and spare no effort to explore, study, identify and refine, Haiyan tune, an ancient tune, will surely regain its luster and be handed down to future generations.