Cantonese opera: performance as creative process
Saved in:
| Main Author: | |
|---|---|
| Format: | Book |
| Language: | English Chinese |
| Published: |
Cambridge u.a.
Cambridge Univ. Press
1989
|
| Edition: | 1. publ. |
| Series: | Cambridge studies in ethnomusicology
|
| Subjects: | |
| Online Access: | Inhaltsverzeichnis |
| Physical Description: | XIV, 205 S. Ill., Noten |
| ISBN: | 0521305063 0521356326 |
Staff View
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| 245 | 1 | 0 | |a Cantonese opera |b performance as creative process |c Bell Yung |
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| 264 | 1 | |a Cambridge u.a. |b Cambridge Univ. Press |c 1989 | |
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Record in the Search Index
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Contents
page
List offigures vi
Preface ix
1 Introduction to Chinese Opera i
2 Essential elements of Cantonese opera as performing art 11
3 Musical instruments 23
4 Social context 32
5 The opera Script 42
6 Speech types 57
7 Aria types 67
8 Linguistic tones 82
9 Padding syllables 92
10 Sin 106
11 Fixed tunes 128
12 Narrative songs 138
13 Three levels of creative process 145
Appendix 1 Linguistic tones, romanization System, and pronunciation guide 158
Appendix 2 Notes on transcription Symbols 161
Appendix 3 Text ofmusical examples in translation, romanization, and
linguistic tones 162
Appendix 4 Text ofmusical examples in Chinese characters 170
Appendix 5 Sources ofmusical examples 176
Items on the cassette 178
Notes 179
Glossary 1 Nantes oj performers, plays, and opera companies 190
Glossary 2 Otherterms 191
Bibliography 195
Index 203
v
Figures
page
2. i Categories of oral deli very types 14
2.2 Music scale in Cantonese opera 15
2.3 Dainty Steps in gongche notation 16
2.4 Dainty Steps in staff notation 17
2.5 Cantonese heptatonic scale in three octaves 17
3.1 Large woodblock 23
3.2 Medium woodblock 23
3.3 Placementof woodblocks 24
3.4 Erhu 28
3.5 Sanxian 28
3.6 Pipa 30
3.7 Yueqin 30
3.8 Yangqin 30
3.9 Dizi 30
6.1 Comic Rhymed Speech 59
6.2 Percussion Speech 59
6.3 Verse structureofPoeft'cSpeecA 61
6.4 Poetic Speech 61
6.5 Verse structureof/?Äy»i« i5/)^ecA 62
6.6 Rhymed Speech 63
6.7 Verse structureof Patter Speech 64
6.8 Patter Speech 65
7.1 Two versions of Chatjiching 68
7.2 Nine versions of Chatjiching 69
7.3 Verse structureof C/utf/icAtng 70
7.4 Syllable placement of Chatjiching 70
7.5 Principal pitches oijingsin 71
7.6 Role types and voice types 74
7.7 Verse structureof Faansin Jungbaan 75
7.8 Syllable placement o( Faansin Jungbaan 75
7.9 Line-ending pitches for the bongji family of tunes 75
7.10 Instrumental preludeof Faansin Jungbaan 76
7.11 Three lines of Faaidim 76
7.12 Syllable placement of Faaidim 76
7.13 Instrumental prelude of Faaidim 76
7.14 Four couplets of Gaamji Fuyung 77
7.15 Verse structure of Gaamji Fuyung 77
List offigures vii
page
7.16 Syllable placement of Gaamji Fuyung 77
7.17 Syllable placement of Bongji Maanbaan 78
7.18 Instrumental prelude oiBongji Maanbaan 78
7.19 Three Couplets of Gwanfa 79
7.20 Instrumental interludesof Gwanfa {bongji, jingsin) 79
7.21 Instrumental interludesof Gwanfa (bongji, yifaansin) 79
7.22 Comparison of Gwanfa instrumental interludes (in bongji and
yiwong) 80
8.1 Distribution of 136 syllables among 9 tonal categories 83
8.2 Frequency of occurrence for pitches 87
8.3 Tableof pitch matching 89
8.4 Table of pitch matching for "big" voice 89
8.5 Table of pitch matching for Gaamji Fuyung (last phrase) 89
9.1 Verse structure of Bongji Maanbaan 93
9.2 Syllable placement of Bongji Maanbaan 93
9.3 An upper line of Bongji Maanbaan showing an added phrase 94
9.4 Comparison of (A) syllable placement of an actual Performance
transcribed in figure 9.3 with (B) prescribed syllable placement,
showing an added phrase 95
9.5 A lower line of Bongji Maanbaan showing phrase leader syllables 96
9.6 Comparison of (A) syllable placement of an actual Performance
transcribed in figure 9.5 with (B) prescribed syllable placement,
showing phrase leader syllables 96
9.7 Two phrases of ßowg/'i'Maanbaan 96
9.8a Transcription of two versions of Bongji Maanbaan 97
9.8b Comparison of the text of the two versions and the Script 98
9.9 Comparison of (A) syllable placement of an actual Performance
transcribed in figure 9.7 with (B) prescribed syllable placement,
showing multiplets 99
9.10 Syllable placement of one phrase from The Royal Beauty 99
9.11 A possible syllable placement of the same phrase from figure 9.10 99
9.12 One line ofFaansin Yiwong with instrumental interlude 100
9.13 One line of Faansin Yiwong with interlude fillers 101
9.14 Verse structure and syllable placement of Yiwong 102
9.15 Verse structure and syllable placement of one line of Lang Yiwong 102
9.16 One couplet of Lang Yiwong 103
9.17 One line of Bongji Maanbaan showing five kinds of padding
syllables 104
10.1 Cantonese heptatonic scale in three octaves 106
10.2 Comparison of the same tune played in (A) Chewusin and in (B)
Hochesin 108
10.3 Intervals for the seven sins 109
10.4 Seven teen lines of Jingsin Jungbaan 112
10.5 Seventeen lines of Faansin Jungbaan 114
viii List offigures
page
10.6 Sixteen lines of Yifaansinjungbaan 116
10.7 Table of matching between linguistic tones and musical pitches 119
10.8 Matrix of eighteen graphs showing result of pitch counting 120
10.9 The aggregate "weight"of pitches for the three «ns 121
10.10 The principal scales for the three sins 122
10.11 Intervals of the principal scales 122
10.12 Intervals of the transposed scales 123
10.13 Jingsin tuning oiyangqin 125
10.14 Faansin tuning oiyangqin 125
10.15 Yifaansin tuning oiyangqin 125
10.16 Predominant and cadential pitches and ränge for the three sins 127
11.1 Four versions of Autumn Moon on the Calnt Lake 130
11.2 Sections of the tune Autumn Moon used in the three performed
versions 132
11.3 Version A measure 1 134
11.4 Version B measure 1 134
11.5 Alternate renditions of figure 11.4 135
11.6 Measure 4 135
11.7 Measure 16 136
12.1 Verse stnictureofmain quatrainof A/aamyawi 139
12.2 Verse structureofopening couplet oiNaamyam 139
12.3 Verse structure of closingquatrain of iVaawtyam 139
12.4 An opening couplet and two quatrains oiNaamyam 140
12.5 Syllable placement of three variants of Naamyam 141
12.6 Line-ending pitches for Naamyam 142
12.7 Prelude to Naamyam sung to a poem 142
12.8 Three interludes oiNaamyam 143
12.9 Placement ofinterludes 143
12.10 Line-ending pitches for Muk'yu 143
12.11 Two quatrains of Muk 'yu 144
13.1 Summary of oral delivery types in act 1 of The Magic Pearl 146
13.2 Oral delivery types in a Speech-song spectrum 151
13.3 A "slow" Version of Chatjiching 153
13.4 "Slow" and "fast" versions of Jingsin Sapji Yiwong Maanbaan 155
13.5 Rules on melodic expansion by Qiu 156
Ai. 1 Table of linguistic tonal symbols 158 |
| any_adam_object | 1 |
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| id | DE-604.BV002045757 |
| illustrated | Illustrated |
| indexdate | 2024-11-06T11:03:26Z |
| institution | BVB |
| isbn | 0521305063 0521356326 |
| language | English Chinese |
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| spelling | Yung, Bell Verfasser aut Cantonese opera performance as creative process Bell Yung 1. publ. Cambridge u.a. Cambridge Univ. Press 1989 XIV, 205 S. Ill., Noten txt rdacontent n rdamedia nc rdacarrier Cambridge studies in ethnomusicology Operas, Chinese China Guangdong Sheng History and criticism Oper (DE-588)4043582-9 gnd rswk-swf Guangzhou (DE-588)4073204-6 gnd rswk-swf Guangzhou (DE-588)4073204-6 g Oper (DE-588)4043582-9 s DE-604 HBZ Datenaustausch application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=001337956&sequence=000002&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis |
| spellingShingle | Yung, Bell Cantonese opera performance as creative process Operas, Chinese China Guangdong Sheng History and criticism Oper (DE-588)4043582-9 gnd |
| subject_GND | (DE-588)4043582-9 (DE-588)4073204-6 |
| title | Cantonese opera performance as creative process |
| title_auth | Cantonese opera performance as creative process |
| title_exact_search | Cantonese opera performance as creative process |
| title_full | Cantonese opera performance as creative process Bell Yung |
| title_fullStr | Cantonese opera performance as creative process Bell Yung |
| title_full_unstemmed | Cantonese opera performance as creative process Bell Yung |
| title_short | Cantonese opera |
| title_sort | cantonese opera performance as creative process |
| title_sub | performance as creative process |
| topic | Operas, Chinese China Guangdong Sheng History and criticism Oper (DE-588)4043582-9 gnd |
| topic_facet | Operas, Chinese China Guangdong Sheng History and criticism Oper Guangzhou |
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