{"id":12415,"date":"2019-11-21T15:23:01","date_gmt":"2019-11-21T15:23:01","guid":{"rendered":"http:\/\/chinesemoment.com\/chinese-culture\/yangzhou-qingqu-yang-zhou-qing-qu\/"},"modified":"2019-11-21T15:23:01","modified_gmt":"2019-11-21T15:23:01","slug":"yangzhou-qingqu-yang-zhou-qing-qu","status":"publish","type":"post","link":"https:\/\/chinesemoment.com\/fr\/yangzhou-qingqu-yang-zhou-qing-qu\/","title":{"rendered":"Yangzhou Qingqu \u626c\u5dde\u6e05\u66f2"},"content":{"rendered":"
\u65f6\u95f4\uff1a2006\u5e74
Time: 2006
\u7c7b\u522b\uff1a\u66f2\u827a
Category: Recitative, story-telling
\u5730\u533a\uff1a\u6c5f\u82cf
Region: Jiangsu Province
\u7f16\u53f7\uff1a\u2164—25
Ref. No.: V-25
\u7533\u62a5\u5730\u533a\u6216\u5355\u4f4d\uff1a\u6c5f\u82cf\u7701\u626c\u5dde\u5e02
Nominating unit[s]: Yangzhou City, Jiangsu Province
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Yangzhou Qingqu is a vocal art form originated from folk so<\/em>ngs and tunes prevailing in Yangzhou during the Ming and Qing Dynasty, also known as “Guangling Qingqu” and “Weiyang Qingqu”, or colloquially known as “Xiaochang” or “Chang Xiaoqu”. It is mainly popular in Yangzhou, Zhenjiang in Jiangsu Province, Shanghai, etc. It is performed in the Yangzhou dialect. It took shape in the early Qing Dynasty. Traditionally, it is performed by a chorus co<\/em>nsisting of one to nine persons who are seated and sing while playing Pipa (a plucked string instrument with a fretted fingerboard), Sanxian (a three-stringed plucked instrument), Yueqin (a four-stringed plucked instrument with a full-moon-shaped sound box), Sihu (a four-stringed bowed instrument), Erhu (a two-stringed bowed instrument), dulcimer, hardwood clappers, plate, goblet, etc. on their own. In the case it is performed on raised terraces, the chorus comprises for the most part five performers who are seated and sing while playing Pipa, Sanxian, Erhu, Sihu and dulcimer respectively. Its music tunes are derived from various Qupais, such as [Leaving] (or Pi Po Yu), [Lo<\/em>nging for the Husband] (or Yin Niu Si), [Four Great Scenes], [Dao Ban Jiang], [Being in Wealth is Dangerous] (or Die Luo Jin Qian), [Lucky Grass], [Blood River], [Waves of Xiangjiang River], etc, were previously applied in the early time. [Ruan Ping], [Li Diao], [South Tone], [Bo Yang], [Spring Tone], [Bu Gang], [Jasmine Flower], [Yangzhou Tone], [Green Willow], [Heavy Snow Covered the City of Lam], etc. which were mainly in its early time. Its repertories are divided into “ditty” singing with one Qupai and divertimento with over two Qupai clustering and coupling. Divertimentos also fall into “small divertimento” and “great divertimento”. The divertimento mainly in the tune of Blood River is often called “five petals of plum blossom”.
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There are professio<\/em>nal and amateur performers. The former made a living upon performing for individuals and families through the streets and lanes or passenger ships sailing in the inland river. Afterwards, full-time performers from professio<\/em>nal folk art performing groups were doing this job; the latter were mainly shop assistants, small handicraftsmen and residents from the stratum of intellectual as guest entertainers, some of them made a great co<\/em>ntribution to creating the libretto, innovating and sorting out tunes, some co<\/em>nducted several theoretical collation and study activities, for instance, Wang Wanqing wrote vocal experiences of Yangzhou Qingqu. Traditio<\/em>nal typical repertories include ditties, such as Ten Glasses of Wine (or Shi Bei Jiu), Difficult to be A Man (or Zuo Ren Nan), and divertimentos, for instance, the Three Kingdoms, Water Margin, Romance of the Western Chamber, A Dream in Red Mansions, the Legend of White Snake (or Bai She Zhuan), Pearl Tower (or Zhen Zhu Ta), Lin Daiyu Lamenting for the Autumn (or Dai Yu Bei Qiu), Liang Shanbo and Zhu Yingtai, Qing Qiong Selling Horses (or Qing Qiong Mai Ma), Su San Under Police Escort (or Su San Qi Jie), Bamboo and Wood Competing for Each Other (or Zhu Mu Xiang Zheng), A Kept Woman Sighing for Her Misfortune (or Yan Hua Zi Tan), the Villain Offending First (or Lao Shu Gao Zhuang), etc. Several new programs were formulated after the founding of the People’s Republic of China, such as Liu Hulan, Worker-Peasant-Soldier.
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According to Notes of Yangzhou Pleasure-Boat written by Li Dou, well-known performers of Yangzhou Qingqu at its early stage included Li Dianchen, Chen Jingxian, Liu Tianlu, Liu Luguan, Mu Qi, Jin Gu, Taoist Priest Pan Wu, Zheng Yuben, Zhu San, and so on. Li Ziyun, Zhong Peixian, Pei Fukang, Wang Wanqing, You Qingle, etc. have had a great impact on Yangzhou Qingqu since the 20th century.
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Yangzhou Qingqu is a vocal art form with a relatively long history. Many old folk so<\/em>ngs since the Yuan and Ming Dynasties, including original lyrics of some folk songs, are well-preserved in Yangzhou Qingqu. For it had been wide-spread in a relatively long time span, it had produced effects on many folk arts of the same kind in other regions to varying degrees. The ancient typical folk art is facing a shortage of performers and qualified successors, hence urgent measures are required for saving and protecting it from being lost.
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