On The Arrangement Of Singing In The Texts Of Traditional Chinese Opera From The Perspective Of Jin Ju

Chinese operatic tunes are one of the striking features of operatic performing patterns, and librettos are of utmost importance in scripting. This thesis focuses on the appropriate arrangement of operatic tunes’ influence on plot advancement, on characterization of operatic figures, on the exposure of conflicts, and even on rhythmic changes.Chapter One mainly discusses the wielding of vocal accompaniment. It dilates on the function of vocal accompaniment as a libretto, the nursery rhymes and its vocal accompaniment in The Secret Mistress serving as a case study.Chapter Two mainly discusses the wielding of antiphonal songs. It concentrates on the forms and function of antiphonal songs in libretto, the forms of man-and –woman musical dialogues and foursome musical dialogues in The Secret Mistress serving as a case study.Chapter Three mainly discusses the significance of the spoken parts of a Chinese opera, and analyzes the necessity and function of employing the spoken parts instead of operatic tunes.Chapter Four mainly discusses the importance of rhythm in the arrangement of operatic tunes, the librettos with particular rhythm in The Secret Mistress.Chapter Five mainly discusses librettos’ service for performance. It holds that the composition of librettos should cohere with performability, the arrangement of librettos of “Changmen Fu” in The Secret Mistress serving as a case study.