Research On The Relationship Between Qu And Qiang In Shangdiao Qupai Of Kunqu Opera

kunqu is one of the most ancient operatic traditions in China, originating from the Kunshan district of Jiangsu province. A performance of kunqu is elegant, its words simple and direct. The deep search for a harmonic relation between words and melody (shui mo qiangdiao) is a peculiar trait of kunqu opera. In 2001, kunqu opera was recognized by the UNESCO as intangible cultural heritage to be safeguarded as one of the world's most important cultural traditions.The present dissertation investigates the relationship between qu (the skeleton melody transmitted by the scores) and qiang (its actual performance with different degrees of embellishment) of kunqu opera. Through a morphological analysis of micro patterns in kunqu melodies, the author develops a typology of qu and qiang, and discusses the manifold factors that influence the relationship between them. Based on the methodology of ethnomusicology, the discussion then moves to a larger perspective, taking into consideration the cultural contexts of kunqu. This approach allows to identify the main processes occurring in the relationship between qu and qiang in the course of its performances and transmissions. By giving insight into the main mechanisms of transmission, this research is a fundamental contribution to the safeguarding of kunqu as cultural heritage.The present thesis is divided into three main parts.. In the first part the author focuses on the shangdiao mode of nanqu style in kunqu. Out of the formal analysis of more than 100 "arias" in 19 qupai (melodic standards) it is possible to educe the principle regulating the interrelation of qu and qiang in each specific qupai. Moreover, the author points out to the principles which individually regulate three types of qupai considered according to their different formal use. These are the introductory qupai, the zitao qupai (a melodic standard that constitutes alone a suite) and liantao qupai (the suite composed by various qupais).The second part, based on the different functions of the three types of qupai described in the previous part, clarifies the factors shaping and reshaping each type of qupai through performance and transmission. At the same time, by pinpointing the common aspects present in the three types of qupai, it is possible to identify the unchanging factor in the whole shangdiao system of qupai, which is "one skeleton melodic pattern has two characteristic tone-patterns". This is the framework of the qu in the shangdiao qupai system of kunqu opera.The study on the relation between the lyrics of each repertory and their music leads the author to show the unity inherent to the regularity of rhymes at the end of each verse (juqun) and the regularity of cadential tones in the kunqu qupai periodical units. These aspects underscore the literati's influence in kunqu and confirm a definition of kunqu as "the vocal form of the art of rhyme" ("音韵声腔艺术").The third part provides a thorough analysis of the many factors that influence the relationship between qu and qiang in kunqu opera. The author attempts to interpret the interaction between the qu and qiang in the creative process of performance. The analysis and theoretical conclusions given in the first two parts indicate the presence in kunqu of the philosophical principle of "plurality from unity" and of the aesthetical concept of integration between universality and individuality.The author argues that in the process of kunqu opera's "historical construction", the triangular interaction of "libretto, melody, and vocal techniques of diction and stylistic interpretation" has a direct influence on the relationship between qu and qiang. In the historical development of kunqu opera characterized by "individual creations and experiences", there are two lines of transmission which exert a very important influence on the relationship of qu and qiang. They are the strict abidance of zhuotai qingqu (off-stage amateur singing by literati around a table according to fixed theoretical principles) and, on the opposite side, the wutai juqu (kunqu opera as performed on stage) in front of an audience. Behind these two lines of transmission there are two different modes of economic behaviors. Due to certain restrictions placed by zhuotai qingqu opera on wutai juqu opera, the relationship between qu and qiang in kunqu has always been maintained in a balance while, at the same time, it kept developing with the passing of time.