Research On The Evolution Of Decorative Singing And Related Accompaniment In Mei Lanfang's 1920-1936 Singing

With the development of the modern Chinese music history discipline and the needs of the times,new and traditional music cultures are increasingly becoming the common research area of modern Chinese music history.As an important part of traditional music culture,the Peking Opera evolved with the times in the 20th century,prospering and generating a variety of genres and talent that competed with each other.Mei Lanfang was the most representative Peking Opera artist in this period.In the 1920-1936,he produced a large number of records,leaving precious audio historical materials for future generations On the basis of Mei's historical records of great cultural and academic value,this paper starts with the recorded sounds,drawing lessons from the research results of opera music theory and traditional Chinese music theory and refers to the research method of music history.By appreciating the recorded sounds and by virtue of computer audio test software,combined with music scores,the author,referring to the research methods of opera music and traditional Chinese music theories,probes into the evolution and pattern of Mei's the decorative singing method and the related accompaniment in order to provide new ideas for the study of his the decorative singing method and the related accompanimentart and offer certain theoretical references for its inheritance,which is also an effort to expand the research scope of and contribute to the further development of the Chinese modern music history disciplineIn the first chapter,the author reviews the birth of records in China and the record-making situation before Mei,and streamlines his record-making history from 1920 to 1936,which can give us a glimpse into changes in Mei's artistic philosophies.In the second to fourth chapters,by comparing the audio materials Mei recorded in different periods,the author analyzes the development and changes of the decorative singing method and the related accompaniment,including the moisten tune,the prolongation of tune and the accompanying music,which shows that Mei's the decorative singing method and the related accompaniment is characterized by gradual changes and innovations with an overall adherence to the patterns of Peking Opera.In order to make the conclusions more persuasive,the author compares Mei's historical records,to the limited records Mei's teachers left and the records of Cheng Yanqiu,which are from the same period yet distinctively different in vocal styles.In the fifth chapter,the author summarizes the evolution of Mei's the decorative singing method and the related accompaniment and concludes that it is characterized by "becoming increasingly diverse,showing simplicity in complexity."Subsequently,a profound analysis is made of the evolutionary factors of Mei's the decorative singing method and the related accompaniment in terms of the history,the team and the individual;and from the perspective of Chinese traditional culture,the author summarizes that Mei's the decorative singing method and the related accompaniment reflects four aesthetic styles,namely centrral,harmonious,mellow and flexible.Finally,the author offers an in-depth analysis of the inheritance and development of Peking Opera in the contemporary era via the evolutionary characteristics of Mei's the decorative singing method and the related accompaniment.It is not hard to see from the evolution of his decorative singing method and the related accompanimenthis that Mei was trying to find a balance between old and new cultures.He wanted to not only reform performing patterns while preserving content,but also innovate the content while keeping traditional patterns.This is what Mei proposed for the development of Peking Opera as "Changing without Altering the Essential Form." This artistic philosophy not only reflects the law of the development of traditional music culture in the history of modern Chinese music,but also points out the source of vitality of traditional Chinese music culture.To this day,a flourishing era means that traditional music will inevitably be affected by values,aesthetic tastes,etc.,so that new vitality will burst forth in its slow progress.