(1) The real voice is also called the big voice and the original voice. One of the pronunciation methods of Peking Opera actors. When singing, the Qi comes out of the Dantian, sings through the throat cavity, and directly makes a sound, which is called the true voice. The sound produced by the real voice is called the real voice. For example, when Dantian Qi passes through the throat cavity, the actor narrows the throat cavity to make it produce a higher pitch than the real voice, which is called a false voice. When the real voice and the falsetto are spoken, the connection is natural and there is no trace, which can make the sound range wide and the high and low sounds move freely. Peking Opera's Shengxing (Laosheng, Wusheng, Hongsheng), Jingxing, Chouxing, Laodan and other roles are all performed with real voices. Xiaosheng sings with a falsetto voice, but when he speaks, he uses a combination of real and falsetto voice.

(2) The original voice is the same as the "false voice".

Penta in phonology means that ancient scholars divided initial consonants into five categories according to their place of articulation, namely: labial, lingual, dental, dental and guttural. This traditional formulation is still used today and is still an important concept in learning and researching the pronunciation and pronunciation of Peking Opera.

People often use "correct words and round tone" as an important criterion for evaluating Peking Opera singing. However, some Peking Opera fans, especially beginners, tend to focus on singing, that is, various patterns and tones, while ignoring the articulation and articulation of lyrics. At the same time, I often hear people who have not had much exposure to Peking Opera say: "Peking Opera is easy to listen to but not easy to understand." The "good-sounding" mostly refers to the singing, while the reasons for "difficult to understand" are many, and not being able to understand the lyrics is one of them. Therefore, paying attention to the study and research of enunciation and pronunciation is not only an issue that beginners and Peking Opera lovers should pay attention to, but also an important issue in popularizing Peking Opera and strengthening the theoretical construction of Peking Opera.

In fact, singing and lyrics are closely integrated into one, and both are used to express the thoughts and feelings of the characters in the play. Libretto is the verbalization of the characters’ thoughts and feelings in the play; singing is the musicalization of the characters’ thoughts and feelings. In a certain sense, this kind of musicalization serves the lyrics. Without the lyrics, the singing itself will lose its support. On the contrary, the joy, anger, sorrow and joy in the lyrics can be expressed and reflected through the different singing styles of various styles. Therefore, the arias in the arias and the articulation and pronunciation in the lyrics are two aspects that cannot be neglected. The beauty of singing in Peking Opera and the beauty of phonology in lyrics (expressed through enunciation and pronunciation) are inseparable from each other. Only by closely combining the two can we fully express the thoughts and feelings of the characters in the play, and further achieve the state of "the accent follows the words, the words follow the accent, the words are correct and the accent is round, and the voice and emotion are both eloquent".

The enunciation and enunciation of characters in Peking Opera lyrics are all performed in the singing (there are also issues of enunciation and enunciation in rhyme, which will not be discussed here). In particular, some lyrics have very long lines, that is to say: the pinyin of the initial consonants and finals of a word in the lyrics is often not done in one beat, but in several or even many beats. This is This determines one of the characteristics of Peking Opera's articulation and enunciation, that is: the phonetic composition of the language in the lyrics is clearly divided into three parts: the beginning, the abdomen and the ending. Generally speaking, the beginning of the word refers to the pronunciation of the initial consonant, and the belly and ending of the word refer to the pronunciation of the final. For example, in "Fisherman and Killer", the word "Shou" in "Old Dad gets up early in the morning to go out", the beginning of the word It's sh, the belly is o, and the ending is u. In "Li Ling Stele", the word "bao" in "Sighing the Yang family's loyalty to the Song Dynasty to support Bao" has a b at the beginning, a at the belly and an o at the end. The word "Teng" in "The Ice Wheel of the Island is First Turning" in "The Drunken Concubine" has t at the beginning, e in the belly, and ng at the end. Of course, in singing, the beginnings, abdomens and endings of words cannot be completely separated. They must be connected with each other in the melody and coordinated transitions to completely form a syllable, so that the lyrics can be conveyed clearly and emotionally through the singing melody. Passing it on to the audience is an ingenious art that requires skill. When many old teachers teach singing, they often say: "The beginning of the word must be clear, the rhyme must be correct, and the ending must be perfect." This refers to this comprehensive requirement for articulation and pronunciation. The five tones, as the five classifications of the pronunciation parts of initial consonants, are an important issue to make the beginning of the word clear.

The introduction of the five tones was first seen in the "Treatise on the Sound of the Five Tones" in "Yupian" written by King Gu Ye of the Liang Dynasty. The "Fragments of Shouwen Rhyme Study" in the late Tang Dynasty arranged 30 letters according to the classification of five tones. In the Song Dynasty, someone added 36 letters based on the 30 letters. In addition to the five tones of the labial, tongue, teeth, teeth and throat, they added semi-lingual and semi-dental sounds, collectively called "Seven". sound". These represent significant historical contributions by ancient phonology scholars.

The theory of five tones is still commonly used in Peking Opera and folk art circles, which shows its far-reaching historical influence.

However, with the development of society, language and pronunciation are also constantly evolving. Modern Chinese has set 21 initial consonants, and classified them into seven categories according to the place of articulation: bilabial consonants, alveolar consonants, and pretongue consonants. Sound, apical middle sound, post-apical sound, surface sound, and root sound. Comparing this classification with the ancient five- or seven-tones, we can get the following insights:

1. The classification of initial consonants in modern Chinese is the inheritance and development of ancient phonology. The content of He Wuyin has the aspect of inheritance, but also the aspect of sublation and addition.

2. Some of the old ways of talking about the content of the five tones are unscientific, such as: What is a "dental sound"? What is a "dental sound"? What is a "throat sound"? How to distinguish between them? ?Wait a minute, especially the concepts of "teeth" and "teeth" are difficult to distinguish clearly. If you still use the old saying to guide your current singing, it will not only be incomprehensible, but also a kind of conceptual confusion. The classification of initial consonants in modern Chinese is more accurate and applicable. Of course, traditional concepts will always be limited by historical and cultural development. This is something we cannot be too demanding of the ancients.

3. Should the classification of initial consonants in modern Chinese be used instead of the five tones? This involves both academic understanding and traditional habits. There is an old saying of "Ming the four calls, distinguishing the five tones, correcting the four tones", and also said: "When reading a character, the five tones are the meridian, and the four calls are the latitude. If the latitude and longitude are clear, the character is clear.", "Although schools and professions are different, but "Don't call out the four, examine the five tones, correct the four tones, pronounce the words, return the rhyme, collect the sounds, and pay attention to the breath. These are all "the same". It can be seen that the five tones have become a long-standing and conventional formulation. This is not appropriate to use Administrative measures force changes.

4. Although there are seven classifications of initial consonants in modern Chinese, they can be summed up as the "five tones" consisting of bilabial sounds, alveolar sounds, apical sounds, lingual surface sounds, and tongue root sounds. , but the tip of the tongue sound is divided into three subdivisions: front of the tongue, middle of the tongue, and behind the tip of the tongue. The "five tones" of modern Chinese and the traditional five tones are not a coincidence. By comparing the two and studying them, we can explore the ups and downs and adjustments. Just as in the past, "Ping, Shang, Qu, and Ru" were the four tones, and in modern times, "Yinping, Yangping, Shangsheng, and Qusheng" are the four tones. Like sound, it has its own regularity. According to this, the name of the five tones can remain unchanged, but its content should be newly defined.

Only the five tones are summarized here, mainly to solve the problem of clear prefixes in singing. It aims to follow the traditional concept of the five tones and make a new definition of its connotation to be correct for Fang Jia and readers. As for the rhyme and ending in enunciation and articulation, it involves many aspects of the four calls and rhymes. Due to space limitations, this article cannot elaborate on it

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Opera actors, especially Peking Opera actors and opera enthusiasts, tend to be impatient when it comes to singing and practicing their voices. They wish they could shout out a high and bright voice quickly. They are anxious to shout high notes, shout violently, or even shout indiscriminately. , which is often counterproductive. When we are studying how to practice shouting, we should intentionally practice the breath first and not rush to produce the sound, which is conducive to the vocal practice. We need to clarify a step-by-step rule and perseverance. In this third stage, we suggest not to rush up the scales and shout high notes, but to start with the combination of breath, sound and words. The relationship between these three should be arranged in this order: Qi serves the sound, the sound serves the tune, the tune serves the word, the word serves the word, and the word serves the emotion. From this order, we can see that the character is in the center, with "yin" and "qiang" in front, and "ci" and "emotion" in the back. If one of them collapses, everyone loses. The true pronunciation of a word determines the roundness of the sound. This is exactly the principle of "using words to express the tone". The relationship between words, sounds and Qi in shouting and singing should be based on the "qi", the "sound", and the "word". The specific method is: use the Chinese Pinyin method to enlarge and slow down the beginning, abdomen, and ending of characters, practice the sounds with the characters, and then speed up, and at the same time practice the flexibility of the mouth, lips, teeth, tongue, and throat.

① Labial sound practice: (Slow it down first, enlarge it and gradually speed it up until you read the tongue twister)

Eight hundred and one mark, one soldier, one run - North, one slope, one slope, one cannon One soldier, one row, one running gun, one soldier, one fear, one mark, one soldier, one touch mark, one soldier, one fear, one touch, one cannon, one soldier, one gun

② Sibilance practice (the method is the same as above) < /p>

Four - is four, ten - is - ten, fourteen is - fourteen, forty - is - forty, don't say fourteen - - forty, Don't say forty - fourteen,

③ Tongue pronunciation practice (the method is the same as above)

Sixty-six-year-old Liu Laoliu, pushing sixty, six A large oil basket with sixty-six weeping willow branches and sixty-six giant monkeys tied to it.

④ Throat practice (the method is the same as above)

There is a tiger in front of the mountain, and a monkey at the foot of the mountain. The tiger chases the monkey, and the monkey fights the tiger. The tiger cannot chase the monkey, and the monkey also fights. No tiger.

⑤Tingual and dental pronunciation exercises (the method is the same as above)

A lame man came to the south of the street, holding a plate in his right hand and an eggplant in his left hand; there was a pout and a prong in the street I tripped over the lame man, dropped the plate with my right hand, and threw the eggplant with my left hand

⑥ Practice the pronunciation of the Thirteen Zhe characters

The wind (Middle East) rushes (ash heap) and the heat rises (Gusu) ) one goes (one seven) one lotus (bosuo) one flower (flower) one thanks (乜skew)

autumn (youqiu) one refreshing (jiangyang) one cloud (renchen) one high (Yao Tiao) Yiyan (preface) Yi Zi (Zhi Si) Yi Lai (Huai Lai)

Qiao (Yao Tiao) Yi Jia (hair flower) One person (Ren Chen) Yi Twisting (Yu Qiu) ) one pinch (乜skew) one out (Gusu) one room (Jiangyang) one come (Huailai)

East (Middle East) one west (17) one south (preface) one north ( Ash pile) Sitting (Bosuo)

The third stage: poetry and singing practice

The purpose of placing poetry and singing in the fourth stage is to practice and explore the "generous bass" , the voice quality of "mellow midrange and tough treble" does not blindly raise or climb higher, but consolidates the midrange and bass to make the tone gorgeous and pure, maintaining a good-sounding and usable voice, and at the same time training the toughness and elasticity of the treble . At this time, the singing and reciting exercises are all unaccompanied. The singing is more difficult and demanding. In the third stage of practice, the breath, sound and words are at the bottom. It is climbed step by step. The voice is not tired and the practice is smooth. Effective and reliable.

① When reciting poetry, we generally choose setting poems from various professions. Because the characters have just entered the scene, they need to leave a first impression on the audience and make them stop talking and calm down. Therefore, the setting poems should be in a lighter tone. High, neither urgent nor slow, it is a self-analysis of the character's own interests and aspirations. It is very rhythmic and must be practiced well. It is also suitable for shouting, practicing and practicing. For example, Mi Heng's closing poem in "Beating Drums and Scolding Cao" says, "The mouth is like a hanging river and the words are flowing, and all the princes are suppressed by the tip of the tongue. How can a man hold his hands in the sky? He should talk and laugh in search of a prince"; another example is "Carrying a Beautiful Car" In Yue Fei's opening poem, "Bright and bright armor shoots people into the bullfighting palace, misty flags cover the red sun, tigers are arrayed with Mingfu generals, and horses are like dragons." In the morning when everything wakes up and everything is renewed, you can practice your voice to your heart's content.

②Singing: It has the characteristics of chanting and reciting, half singing and half chanting. It is more difficult than reciting poetry. Its emotions are more suitable for expressing, and its rhythm is more suitable for stretching. It is just used for shouting and making sounds. Half chanting and half singing is like an introduction. For example, in "Universal Front" Zhao Yanrong half chants (reciting) "The cuckoo branches weep, (singing) blood and tears secretly cry sadly." Another example is Cao Cao (half chanting) "One hand (singing) in Yangpingguan" Chanting) Standing alone to support the sky, wonderful achievements have been built long ago, (half-chanting) Helping Han Zuo in vain, (chanting) Wei will move to the current situation." Direct singing such as "Qin Qiong Selling Horses" "A hero is trapped in heaven, I don't know when he will return to his hometown", and another example is "Qingfeng Pavilion" "I am old, my blood is weak, I am old and have no children", "Listen to my mother's loud cry of sorrow, It must be because of Jiaoer that we lost the love between husband and wife."

③Jingbai (Mandarin) poetry recitation: Practice reciting lyrics for modern opera performances, such as using the melody of poetry to recite "Chairman Mao's Poems" "The sky is high and the clouds are pale, and the geese flying south can't be seen. "He who goes to the Great Wall is not a true man" etc. Another example is to recite some classic lines from modern dramas, such as "The long drought of the seedlings meets the sweet rain, keep them in mind", "Thousands of branches and leaves, one root, all are suffering people", etc., are all good materials for practicing singing. Traditional long-duration recitation and some oral exercises can also be used to train breath and vocalization at this stage.

The fourth stage: arc-shaped breath practice

This is a very unique vocal technique in Peking Opera. It is like bouncing in dance, jumping up, squatting down and bouncing up again. It is also like the shot put in sports. It spins up, retracts, and throws out again. The breath and sound are pushed out to form a shape, a parabola, pulled back, and thrown out again.

For example, Wu Sheng: ah/cough/Laosheng: horse/come/painted face: wine/oh ah＼come/ugly: ah/ha/Tsing Yi: bitter/wow/faced/

< p>This kind of double-arc Qi and sound, if not practiced properly, can easily produce "chasing sounds", "turning" or "squeaking flowers". The general key points are: good luck - hold the word well (break down the pronunciation like "Hanyu Pinyin") - throw it out - collect it - throw it out again, control the breath and volume, and select the best tone, one ring Buttoned together, they complement each other. In particular, the "Rong-Zhen" recited by the Cheng School seems to be broken continuously, as thin as a gossamer, and when it is broken, it rises and then reaches fullness and is delivered home. Guiyin Guiyun requires hard practice and mastery.

The fifth stage: practice of climbing scales and difficult sounds

"Ga tune", "turning high" and "high tune" are indispensable in singing. We call them difficult sounds . When practicing this sound while shouting, be careful not to practice too much. The key is to find a way to find the position. If you try your best to shout, all the previous exercises will be wasted and your throat will be hurt. When practicing this sound, you should avoid squeezing, jamming, pinching, pressing, forcing, or forcing yourself to do it. The old man said, "If you want to sing a word loudly, you don't have to shout back with all your strength. If you make the word narrower, thinner, sharper, and deeper, the sound will be louder... Whenever you encounter a word that is raised high, it will sound louder." Lift up the Qi and send it out... then the sound will be clear and bright to the listener, and the singer will not have to exert any effort. "There are tips and methods here. You have to explore and explore them according to your actual conditions.

(3) A big voice is the same as a "real voice".

(4) True voice is the same as "true voice".

(5) Falsetto voice is also known as small voice and second voice. One of the pronunciation methods of Peking Opera actors. It is relative to true voice, big voice and native voice. The sound produced by a falsetto is called a falsetto. When speaking, the laryngeal hole is narrowed compared with the real voice, the position is elevated, and the airflow becomes thinner. The falsetto voice has a higher pitch than the real voice. Peking Opera's female actors and young actors both use falsetto when singing, but the hardness and softness of their voices are different.

(6) Small voice is the same as "false voice".

(7) The two voices are the same as "false voice".

(8) Falsetto is the same as "false voice".

(9) Peking Opera vocal term for the left voice. It mainly refers to an abnormal voice in male voices. It can be high but not low. In addition, the voice is rigid and flat, and lacks roundness. Some old students or martial students who specialize in high-pitched singing sing with this voice. Laosheng's voice can be purely left-sided, or there can be a native voice with a slight left side. In addition, the left voice is sometimes used as another explanation, which means that the voice does not match the accompaniment of the instrument, which is generally called out of tune.

(10) Hanging the voice is also used to tune the voice. The singing practice method of Peking Opera actors is also one of the steps for training actors’ singing skills. In addition to shouting and reciting the lyrics every day, actors must also practice the singing passages in the opera loudly with the accompaniment of the huqin (or drum board, etc.). Some use normal door adjustment first, and then raise it appropriately. The functions of throat hanging: 1. By practicing singing loudly, the voice can meet the requirements of singing on the stage. Due to continuous training, the voice can become increasingly loud and round, full of energy, clear and powerful in articulation, and maintain durability. 2. Familiar with accompaniment, fully understand the relationship between singing and accompaniment, master the dimensions simultaneously, interpret the meaning of the music, and express the mood of the music, so that the coordination of singing and accompaniment can be harmonious, thereby achieving mutual artistic understanding and coordinating the performance style of the entire aria.

(11) Tuning the voice is the same as "hanging the voice".

(12) How to practice voice training for Peking Opera actors by shouting. By shouting, you can exercise each vocal part and correctly pronounce the original sound of each vowel. The shouting time is usually in the early morning, in an open area, shouting out single sounds such as "uh", "yi", "ah", etc., from low to high, from high to low, repeatedly. After your voice feels comfortable, practice with the arias.

(13) Dantian sound is a term for Peking opera vocal music. When the actor sings, he must have enough energy in his lungs and exert force in his lower abdomen. The energy seems to come out of the Dantian (the area about three inches below the navel of a human being is called the Dantian). Nowadays, the traditional method of practicing voice for opera singing is also considered to be that Dantian sound is the most resounding (that is, the sound is sent far and can be heard clearly).

(14) The sound in the hall is the same as "Dantian sound".

(15) Peking Opera vocal music term for cloud covering the moon. This is a metaphor for Laosheng's mellower and more reserved voice.

This kind of voice sounds dry at first, but becomes louder and more beautiful the more you sing. It makes people feel that it has a mellow charm and unlimited potential. It is a beautiful voice formed by long-term training. The voices of Tan Xinpei and Yu Shuyan both belong to this type.

(16) Taozhong Peking Opera vocal music term. In middle-aged and old age, due to physiological factors, actors develop aphonia and are completely unable to sing, which is called collapse. Some actors take good care of their voices and keep their vowels unchanged even when they are old. Actors who sing with falsetto tend to fall into trouble over time.

(17) A type of Peking Opera sound that occurs in the back of the head. Also known as backing Gongyin. In general pronunciation, the Qi comes out of the Dantian, passes through the throat cavity, and is directly emitted. Although the sound in the back of the head also comes from the Dantian, when it is pronounced, the larynx is slightly compressed, the back pharyngeal wall is opened, the soft palate is raised, and the sound is sent into the head cavity, where it gathers with the nasal sound, causing the sound to loop around the back of the head and pass through the head cavity* **Ming, emitting an implicit and rich tone. The pronunciation of the sound behind the head is vigorous and powerful, which can be heard far away, but it is not sharp when heard up close. In the singing styles of Laosheng and Jingjiao, this singing method is often used when high notes with closed accents (such as "Yi Qizhe") are encountered. It is rare for Danjiao singing to use the back of the head, but Cheng (Yanqiu) style singing sometimes uses it.

(18) The pronunciation of back work is the same as the pronunciation of "back of head".

(19) Huang tune is also called Huang tune, Huang tune or Liang tune. Peking Opera vocal music noun. It refers to the inaccuracy of the actor's singing into the tune. It is customary to specifically refer to the change of tone slightly below the key. Most of them are caused by the actor's innate physiological conditions, such as vocal cord variation, inaccurate ear tone, etc. Sometimes it is also caused by improper voice practice.

(20) Huang tune is the same as "Huang tune".

(21) Huangqiang is the same as "Huangqiang".

(22) Liang tune is the same as "Huang tune".

(23) Impersonating Peking Opera vocal terms. Refers to the fact that the actor's singing tone is slightly higher than the prescribed key. Most of them are caused by congenital physiological conditions. Sometimes it is due to temporary malfunction of physiological conditions (such as vocal cords); sometimes it is also caused by improper vocal training.

(24) Peking Opera vocal noun. It means that the actor's singing does not conform to the prescribed rhythm. In Peking Opera singing, there are various grooves such as banyan, banyan, and flowing water. If the singing deviates from the rules of banyan and loses the sense of rhythm, it is called following the ban.

(25) Nouns that do not match the vocal music of Peking Opera. It refers to the tone of an actor's singing that is either high or low and does not conform to the prescribed tune. It is commonly called out of tune.

(26) Out of tune is the same as "out of tune".

(27) One of the methods of singing Peking Opera with breath. Refers to the way actors inhale when singing. The various singing styles of Peking Opera are of different lengths and rhythms. Actors must master the accurate inhalation method in order to sing calmly, gracefully and melodiously. The air port includes two types: ventilation and air leakage. Ventilation refers to the inhalation during the pauses in singing, while breath stealing refers to the inhalation during intermittent or continuous phrases without the listener noticing.

(28) One of the methods of ventilating Peking Opera singing. When singing, whenever you encounter a long or high pitch, you must first inhale to be fully prepared. Breathing does not mean stopping the singing before singing or taking a noticeable pause before singing again. It means taking advantage of the moment when the vocals are hesitating to pronounce the words and sounds, and accumulating breath for replacement. Where to take breath during singing varies from person to person, and is generally called the breath mouth.

(29) One of the ways to steal Qi in Peking Opera singing. It means that there is no trace when breathing, and the breath is changed secretly when the audience is not aware. For example, in "Catch and Release Cao", Chen Gong sings "It's hard for me to get back when the horse is walking in the road." After singing the first six words and the word "nei" in a long tune, he uses the lining word "I" to "steal" the breath inward. Take one breath in order to sing the tone of "It's hard to get back on the horse" below, which is called stealing breath.

(30) In the singing style of Peking Opera, when a certain word is sung with a prominent and elevated tone, it is called Ga tune. For example, in "Silang Visits His Mother", Yang Yanhui sings "Standing at the palace gate and calls Xiaofan" the word "fan", and in "Dingjun Mountain" Huang Zhong sings "Sweeping will be successful at three o'clock tomorrow afternoon" The word "天" etc., are all called Ga Diao.

(31) Chang Bang Chang (yin palm) means growth. Bang is the common name for voice, here it refers to the volume. A long shout is like turning up the volume.

(32) Smashing and tamping is a metaphor for an actor’s singing, which is like the efforts of drums when tamping the foundation, and it has a derogatory meaning. Actors are not good at mastering the singing method. They use too much energy or use brute force, resulting in clumsy accents (mostly at the end), which is called smashing.

(33) Gongchi opera music term. Generally refers to the scale symbols noted on the right side of the lyrics on opera scores. my country's traditional folk music uses the words "He, Si, Shang, Chi, Gong, Fan, Liu" as the symbols of the scale, which is equivalent to "56712345" in Western music.

It is customary to refer to these symbols collectively as "gongchi". Some music scores only note the banyan (beat) next to the lyrics, but not the work ruler. There is Gongchi music score, called Gongchipu.

(34) Banyan opera music term. When singing traditional songs, a drum board is often used to set the beat, and every strong beat is struck on the board, so the beat is called a board. The second strong beat and the weak beat are called the middle eye and the small eye respectively (in the four beats, the first weak beat is called the head eye or the first eye, and the latter weak beat is called the last eye). Collectively called the paneye.

(35) Extraordinary Peking Opera music terms. It refers to the interlude music between arias and arias and between arias and arias. Small transitions are often used between arias and arias, and large transitions are often used between arias and arias. However, due to different board types, there are many exceptions and there is no fixed pattern.

(36) Guaer Peking Opera music noun. Gua'er is a homophone of "Guo'er", which specifically refers to the big bridge between arias and arias, and generally refers to the cadenza interlude music. The small transition between the arias and the arias is not called a hook.

(37) Peking opera music term for head cushion. It refers to the melody that plays the role of building a bridge between the music collections and the music collections. It is called the head cushion or the small head cushion, also known as the bridge. The head-cushion melody is short, usually only two or three beats, and serves as a link between the previous and the next.

(38) Xingxuan Peking Opera music noun. Refers to the background music when actors perform actions or dialogues or monologues. Xingxuan is mostly the repeated performance of Qupai or simple melody, which mainly plays the role of setting off the atmosphere.

(39) Tune refers to the pitch of the actor when singing. Whenever a string instrument is used for accompaniment, the tone is freely set according to the height of the actor's voice. Among the Peking Opera tunes, the Zhenggong tune is generally the moderate one, the highest is the Yi-zi tune, and the lowest is the Fan-zi tune, commonly known as the Pai-zi tune. In the same play, the two main actors have different pitches, sometimes accommodating each other, and sometimes temporarily long (raising) the tone or falling (lowering) the tone.

(40) The pitch of the tune performed by the actor is the same as the pitch of the accompanying instrument (huqin, flute, etc.), which is called tune. It means singing according to the appearance of "tune door". Noodle adjustment is for base adjustment. In general, the actors sing the tune.

(41) The pitch of the tone-down actor is an octave lower than the pitch of the accompaniment instrument (huqin, flute, etc.), which is called tone-down. It means singing according to the bottom tone of the tune. The bottom adjustment is for the noodles. Some singing styles of Peking Opera, such as the doll tune, are often raised. If the tune is set high, the actor's voice is not as good as the voice. If the tune is set low, the volume of the instrument is too low. Therefore, a low-pitched singing method is used to set the instrument an octave higher. , the actor sings an octave lower.

(42) Dingxian refers to the level of "tuning" of string instruments (Huqin, Erhu, etc.). Generally, the flute is used as the standard for tuning.

(43) B-tune Peking Opera music noun. One of the tune gates used in Gongchipu. When tuning the strings, use the "B" sound of the Xiaogong tune of the flute (open the fifth hole and play the high note), and tune the "Gong" sound of the Huqin (the open string of the outer string of the Xipi tune). Yizi tune is the highest tune in Peking Opera.

(44) Gongzheng Diao is also called Zhenggong Diao. Peking Opera determines the tune of the Huqin based on the pitch of the flute. The outer string of Xipi is of the same pitch as the Gongyin of the Zhenggong tune of the flute, which is called the Zhenggong tune. The one that is one degree higher than the main palace tune is called Yizi tone, the one that is half a degree higher is called Gongban tone, the one that is one degree lower than the main palace tune is called Liuzi tone, the one that is half a degree lower than the main palace tune is called Liuzi tone, and the one that is two degrees lower is commonly known as Paizi tone.

(45) One of the styles of Gongbandiao Peking Opera. Slightly higher than the Zhenggong tune and slightly lower than the Yizi tune. When tuning, the tuning should be slightly higher than the flute's Zhenggong tuning.

(46) One of the Peking Opera tunes of Ruangong Tiao. It is slightly lower than Zhenggong Tune and slightly higher than Liuzi Tune. When tuning, the tuning should be slightly lower than the flute's Zhenggong tuning.

(47) One of the six-character Peking Opera tunes. When tuning the strings, use the "six" tone of the Xiaogong tune of the flute (all six holes are fully closed, playing high notes), and the "Gong" tone of the Huqin (the open string of the outer string of the Xipi tune). Six-character tune is a tune that is lower than Zhenggong tune and moderately high in Peking Opera.

(48) The tone of lying is also called the tone of pa. One of the tunes of Peking Opera. Anything that is more than one degree lower than the Liuzi tone is collectively called the Paizi tone.

(49) Zhenggong Diao is the same as Zhenggong Diao.

(50) The tone of the word Pa is the same as the tone of the word Pa.

Penta in phonology means that ancient scholars divided initial consonants into five categories according to their place of articulation, namely: labial, lingual, dental, dental and guttural. This traditional formulation is still used today and is still an important concept in learning and researching the pronunciation and pronunciation of Peking Opera.

People often use "correct words and round tone" as an important criterion for evaluating Peking Opera singing.

However, some Peking Opera fans, especially beginners, tend to focus on singing, that is, various patterns and tones, while ignoring the articulation and articulation of lyrics. At the same time, I often hear people who have not had much exposure to Peking Opera say: "Peking Opera is easy to listen to but not easy to understand." The "good-sounding" mostly refers to the singing, while the reasons for "difficult to understand" are many, and not being able to understand the lyrics is one of them. Therefore, paying attention to the study and research of enunciation and pronunciation is not only an issue that beginners and Peking Opera lovers should pay attention to, but also an important issue in popularizing Peking Opera and strengthening the theoretical construction of Peking Opera.

In fact, singing and lyrics are closely integrated into one, and both are used to express the thoughts and feelings of the characters in the play. Libretto is the verbalization of the characters’ thoughts and feelings in the play; singing is the musicalization of the characters’ thoughts and feelings. In a certain sense, this kind of musicalization serves the lyrics. Without the lyrics, the singing itself will lose its support. On the contrary, the joy, anger, sorrow and joy in the lyrics can be expressed and reflected through the different singing styles of various styles. Therefore, the arias in the arias and the articulation and pronunciation in the lyrics are two aspects that cannot be neglected. The beauty of singing in Peking Opera and the beauty of phonology in lyrics (expressed through enunciation and pronunciation) are inseparable from each other. Only by closely combining the two can we fully express the thoughts and feelings of the characters in the play, and further achieve the state of "the accent follows the words, the words follow the accent, the words are correct and the accent is round, and the voice and emotion are both eloquent".

The enunciation and enunciation of characters in Peking Opera lyrics are all performed in the singing (there are also issues of enunciation and enunciation in rhyme, which will not be discussed here). In particular, some lyrics have very long lines, that is to say: the pinyin of the initial consonants and finals of a word in the lyrics is often not done in one beat, but in several or even many beats. This is This determines one of the characteristics of the articulation and enunciation of characters in Peking Opera, namely: the phonological composition of the language in the lyrics is clearly divided into three parts: the beginning, the abdomen and the ending. Generally speaking, the beginning of the word refers to the pronunciation of the initial consonant, and the belly and ending of the word refer to the pronunciation of the final. For example, in "Fisherman and Killer", the word "Shou" in "Old Dad gets up early in the morning to go out to make the first consonant", the prefix It's sh, the belly is o, and the ending is u. In "Li Ling Stele", the word "bao" in "Sighing the Yang family's loyalty to the Song Dynasty to support Bao" has a b at the beginning, a at the belly and an o at the end. The word "Teng" in "The Ice Wheel of the Island is First Turning" in "The Drunken Concubine" has t at the beginning, e in the belly, and ng at the end. Of course, in singing, the beginnings, abdomens and endings of words cannot be completely separated. They must be connected with each other in the melody and coordinated transitions to completely form a syllable, so that the lyrics can be conveyed clearly and emotionally through the singing melody. Passing it on to the audience is an ingenious art that requires skill. When many old teachers teach singing, they often say: "The beginning of the word must be clear, the rhyme must be correct, and the ending must be perfect." This refers to this comprehensive requirement for articulation and pronunciation. The five tones, as the five classifications of the pronunciation parts of initial consonants, are an important issue in making the beginning of the word clear.

The introduction of the five tones was first seen in the "Treatise on the Sound of the Five Tones" in "Yupian" written by King Gu Ye of the Liang Dynasty. The "Fragments of Shouwen Rhyme Study" at the end of the Tang Dynasty arranged 30 letters according to the classification of five tones. In the Song Dynasty, someone added 36 letters based on the 30 letters. In addition to the five tones of the labial, tongue, teeth, teeth and throat, they added semi-lingual and semi-dental sounds, collectively called "Seven". sound". These represent significant historical contributions by ancient phonology scholars. The theory of five tones is still commonly used in Peking Opera and folk art circles, which shows its far-reaching historical influence.

However, with the development of society, language and pronunciation are also constantly evolving. Modern Chinese has set 21 initial consonants, and classified them into seven categories according to the place of articulation: bilabial consonants, alveolar consonants, and pretongue consonants. Sound, apical middle sound, post-apical sound, surface sound, and root sound. Comparing this classification with the ancient five- or seven-tones, we can get the following insights:

1. The classification of initial consonants in modern Chinese is the inheritance and development of ancient phonology. The content of He Wuyin has the aspect of inheritance, but also the aspect of sublation and addition.

2. Some of the old ways of talking about the content of the five tones are unscientific, such as: What is a "dental sound"? What is a "dental sound"? What is a "throat sound"? How to distinguish between them? ?Wait a minute, especially the concepts of "teeth" and "teeth" are difficult to distinguish clearly. If you still use the old saying to guide current singing, it will not only be incomprehensible, but also a kind of conceptual confusion. The classification of initial consonants in modern Chinese is more accurate and applicable.

Of course, traditional concepts will always be limited by historical and cultural development. This is something we cannot be too demanding of the ancients.

3. Should the classification of initial consonants in modern Chinese be used instead of the five tones? This involves both academic understanding and traditional habits. There is an old saying of "Ming the four calls, distinguishing the five tones, correcting the four tones", and also said: "When reading a character, the five tones are the meridian, and the four calls are the latitude. If the latitude and longitude are clear, the character is clear.", "Although schools and professions are different, but "Don't call out the four, examine the five tones, correct the four tones, pronounce the words, return the rhyme, collect the sounds, and pay attention to the breath. These are all "the same". It can be seen that the five tones have become a long-standing and conventional formulation. This is not appropriate to use Changes are forced by administrative measures.

4. Although there are seven classifications of initial consonants in modern Chinese, they can be summed up as the "five tones" consisting of bilabial sounds, alveolar sounds, apical sounds, lingual surface sounds, and tongue root sounds. , but the tip of the tongue sound is divided into three subdivisions: front of the tongue, middle of the tongue, and behind the tip of the tongue. The "five tones" of modern Chinese and the traditional five tones are not a coincidence. By comparing the two and studying them, we can explore the ups and downs and adjustments. Just as in the past, "Ping, Shang, Qu, and Ru" were the four tones, and in modern times, "Yinping, Yangping, Shangsheng, and Qusheng" are the four tones. Like sound, it has its own regularity. Accordingly, the name of the five tones can remain unchanged, but its content should be newly defined.

Only the five tones are summarized here, mainly to solve the problem of clear prefixes in singing. It aims to follow the traditional concept of the five tones and make a new definition of its connotation to be correct for Fang Jia and readers. As for the rhyme and ending in enunciation and articulation, it involves many aspects of the four calls and rhymes. Due to space limitations, this article cannot elaborate on it

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Opera actors, especially Peking Opera actors and opera lovers, are prone to be eager for success when it comes to singing and practicing their voices. They wish they could shout out a high and bright voice quickly, in a hurry