{"id":12396,"date":"2019-11-20T20:08:52","date_gmt":"2019-11-20T20:08:52","guid":{"rendered":"http:\/\/chinesemoment.com\/chinese-culture\/changde-sixian-chang-de-si-xian\/"},"modified":"2019-11-20T20:08:52","modified_gmt":"2019-11-20T20:08:52","slug":"changde-sixian-chang-de-si-xian","status":"publish","type":"post","link":"https:\/\/chinesemoment.com\/th\/changde-sixian-chang-de-si-xian\/","title":{"rendered":"Changde Sixian \u5e38\u5fb7\u4e1d\u5f26"},"content":{"rendered":"
\u65f6\u95f4\uff1a2006\u5e74
Time: 2006
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Category: Recitative, story-telling
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Region: Hunan Province
\u7f16\u53f7\uff1a\u2164—27
Ref. No.: V-27
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Nominating unit[s]: Changde City, Hunan Province
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Changde sixian (or Changde silk string) is a major branch of sixian, a folk music type pre<\/em>valent in Hunan Province. Of sixian styles in Hunan, it is the most developed and influential one, and has secured the title of an independent folk art form.
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Hunan sixian, popular in various areas of Hunan Province, gets its name for being accompanied by silk-string instruments, like Chinese dulcimer\uff0cPipa (a plucked string instrument with a fretted fingerboard), Yueqin (a four-stringed plucked instrument with a full-moon-shaped sound box), Sanxian (a three-stringed plucked instrument), Erhu (a two-stringed bowed instrument), Jinghu (a two-stringed bowed instrument with a high register) ,etc. It is formed by integrating popular modes and ditties spread from Jiangsu Province and Zhejiang Province with local folk music of Hunan Province around the early Qing Dynasty. This folk art, performed in Hunan direct, gradually generates various schools with their own characteristics while being passed down from generation to generation in various areas of Hunan Province. These schools include Changde sixian centered on Changde City, Changsha sixian centered on Changsha City, Liuyang sixian centered on Liuyang City, Pingjiang sixian centered on Pingjiang County, Hengyang sixian centered on Hengyang City and Shaoyang sixian centered on Shaoyang City, among which, Changde sixian is the most flourishing one.
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Hunan sixian, including Changde sixian, is performed by a band co<\/em>nsisting of several people who sit down in a circle, with Chinese dulcimer, clappers, Jinghu, Erhu, Sanxian, Pipa or other instruments in their hands, narrating and singing alternately. Its seating arrangement and instrument placement are governed by certain rules, that is, “Yanqin is opposite to clapper; Jinghu to Erhu; Sanxian to Pipa”. The priority was given to singing with spoken parts from time to time. The spoken parts are classified into four types, i.e. “asides” (third person), “monologues” (first person), dialogues, and mo<\/em>nologues interposed. Most of spoken parts are prose-style, with regular and rhymed spoken parts from time to time. Most shows of Hunan sixian are such long romances as The Romance of West Chamber (or Xi Xiang Ji), Plum flowers Comes into Bloom Seco<\/em>ndly (or Er Du Mei), Qin Xianglian and so on. Over time, Hunan sixian has been performed on the stage, and its performance form is changed to one or two people stands and sings, keeping musical time with Jianban (a wooden percussion instruments), and several people play the dulcimer, clappers, Jinghu, Erhu, Sanxian, Pipa, etc. for accompaniment. Its shows are changed into shorter and more concise, and the representative o<\/em>nes are The Rowing of a Ferryboat Cross a River (or Qiu Jiang), Going after Hanxin (or Zhui Han Xin), Xu Ce Running up to Fortress Besieged(or Xu Ce Pao Cheng), Pining with Love in Four Seasons (or Si Ji Xiang Si) and so on.
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Hunan sixian’s vocal music part is diverse in co<\/em>ntent and style, and it can be classified into “Paizi sixian” and “Banzi sixian” by vocal music style. The priority isgiven to Qupai (tunes) in “Paizi sixian”, and tunes are very rich, including [Pu Tian Le], [Qing Jiang Yin], [Yi Zhi Hua], [Xiao Tao Hong], which are from southern and northern drama music; [Yin Niu Si], [Jiu Lian Huan], [Dao Ban Jiang], [Si Da Jing], which are from popular modes and ditties of the period of the Ming and Qing Dynasty; [Lian Hua Luo], [Fengyang Recitative], [Doubagao Recitative], [Anqing Recitative], which are from folk arts and folk so<\/em>ngs of other regions. “Banzi sixian” is classified into two types of tune, “Lao Lu” and “Chuan Lu”. “Lao Lu” is a popular local singing method of Changde City, sounds deep and vigorous, and the representative works are Qin Xuemei Mourns for the Death (or Xue Mei Diao Xiao) and Qingfeng Pavilion(or Qing Feng Ting), etc. “Chuan Lu” is said to be brought by Wan Bincheng, an artist from Sichuan, in the early years of the Chinese Republic\uff0eIt sounds witty and funny, with an optimistic and enthusiastic style, and its representative repertories are Interrogating the Matchmaker (or Kao Hong) and so on. The basic rhythmic patterns of "Banzi sixian” are Yi Liu, Er Liu and San Liu.
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There are more than one hundred traditio<\/em>nal items in the repertoire of Changde sixian, and most are ba<\/em>sed on history stories and folklores. Among others, Jia Baoyu crying for the death of Lin Daiyu (or Baoyu Ku Ling), Drunken Lu Zhishen breaking into the Temple (or Lu Zhishen Zui Da Shan Men), The Love Story of A Nun and A Monk (or Shuang Xia Shan), Mrs Wang Cursing the Thieves Who Stole Her Chicken (or Wang Po Ma Ji) and Zhaojun Outside the Fro<\/em>ntier (or Zhaojun Chu Sai) are the most famous. After the founding of the People’s Republic of China, some repertoires which reflect modern real life emerged, including Many New things (or Xin Shi Duo), Praising Peddlers (or Kua Huo Lang), Visiting Family Members in a Blizzard (or Feng Xue Tan Qin Ren).
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Changde sixian features a relatively high artistic value, distinctive local characteristics and flavor. Due to shortage of professio<\/em>nal troupes since the 1980s and death of older sixian artists, however, Changde sixian is in danger of dying out and needs to be protected and preserved without delay.
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Inheritor(s):
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Chen Xiaohui and Zhu Xiaoling
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