Several editions and comments of Jasmine Flower

& lt Jasmine > Top Ten Classic Editions

This is what I saw on the Music Express in Literature City, and I think it's quite good. I recommend it to everyone. Interested friends can download and listen to it according to the following link. The background music is the black duck version.

Jasmine symbolizes beauty. The flower language in western Europe is amiable. Filipinos regard it as a symbol of loyalty to the motherland and love, and recommend it as the national flower. When guests come, they often weave jasmine flowers into garlands and hang them around their necks to show their welcome and respect.

1. Drama Edition

/yyjd/scmp3/book5/06bz.mp3

4. Black Duck Singing Edition

/Chorus/Song /moli.mp3

10. Jasmine Piano Edition

Song of Zyzz.com/soft/3.mp3/Romantic Piano 99/cdr 13/A05. MP3 file

What a beautiful jasmine!

-Summary of Jasmine Research since 1980s.

Zhuzhou Fangcheng education science institute

There are many jasmine flowers in the north and south of the Yangtze River, which are widely circulated. Many people know that Puccini used jasmine tunes in his opera Turandot, but which jasmine flower was used? Is it jasmine () from Jiangsu? Or "Jasmine Flower" recorded by hittner in China during the Qianlong period? Many people are not very clear about it, and most of them are just proud of it. After all, not many people can watch the whole opera Turandot, and not many people study Jasmine (hereinafter referred to as Mo). Since the 1980s, the research on Mo in various periodicals and monographs has mainly involved the origin, spread, comparison and comparison with other traditional music genres in different regions, which are summarized as follows:

1. the origin of jasmine

The main articles are: Qian Renkang's Textual Research on the Origin of Music Songs (16) (1985/5 "Music Education in Primary and Secondary Schools"), The First China Folk Song Spread Abroad-Jasmine (Selected Works of Qian Renkang (1)) and Random Fragrant Jasmine (art).

Qian Renkang made a detailed textual research on the origin of Mo in Yue Ge Kao Yuan (Sixteenth) and the first China folk song Jasmine (but there was a contradiction in time between the two articles): the earliest publication of Mo's lyrics in China was during the reign of Qing Qianlong (1736-65438+). Mopu was first published in the 17th year of Daoguang (1838) in China (1837 was found in Yue Ge Kao Yuan), and Xiao Hui Ji, edited and published by the owner of Xiang Shu, contained the spectrum of master Xiao Qing's palace pool of Hua Diao. Mo's earliest notation was 1804 published in London, England (also mentioned in Reading Pavilion and Examining Garden 1806), a British geographer, traveler and secretary of the first British ambassador to China (Qianlong 1792- 1794). According to the book, Mo's music score was recorded by hittner. Mr. Qian speculated from the romanized lyrics in the original work that Hittner may have recorded this folk song from Guangzhou. There is no further research on where the melody of hittner's Simplicity and Mo is a folk song and where it was recorded.

The textual research on Mo in Jasmine Blossom is based on the articles "Mom, Mom, Hello, Confused" and "Jasmine in Foreign Countries" published by Qian Renkang in the third series of Music Essays 1980. Arbitrarily pointed out: ink was originally called Shuangcui, and later called coloratura. At the same time, she verified that Jasmine was introduced into China from Arabia and India more than 1000 years ago. It was first seen in Fujian and Guangdong, and spread to Suzhou, Hangzhou and Yangzhou more than 300 years ago.

Feng Guangyu mentioned the origin of Mo in Chinese Tongzong Folk Songs, but it was not as detailed as Qian Renkang. There are great differences in the writing time of Xiao Hui Ji compiled by the owner of Xiang Shu. Feng Guangyu recorded the first year of Daoguang in Qing Dynasty (182 1), while Qian Renkang recorded the seventeenth year of Daoguang, and Mr. Qian himself had contradictions about the exact year of "A.D." (mentioned earlier). In addition, Feng Guangyu also tried to verify whether the tunes in Mo and Shuang Cui are related to the lyrics in the engraving of Ci Fan by Liu Xiaozu, a essayist in Ming Dynasty, based on the lyrics and tunes in the form of Shuang Cui. He asked a question, but the conclusion was unclear.

2. Lyrics of Jasmine

The introduction of Mo's lyrics is detailed in his monograph An Introduction to Han Folk Songs (Shanghai Literature and Art Publishing House, 1982, 1). He thinks that most of Mo's lyrics are the original words of the opera Yingying. But some places don't sing stories, only sing the first paragraph of What a Jasmine Flower and two or three paragraphs of the same kind, such as Mo in northern Jiangsu; Some places use other flower names to sing lyrics, and the content is similar to this; Some places sing "Wu Huaer", which tells the story of killing my sister-in-law, but not much.

Qian Renkang mentioned in the article Jasmine, the first overseas folk song in China, that in the earliest publication of Baiqiu in China, it was recorded that the lyrics of Mo were the lyrics of The West Chamber, that is, the story of Yingying was sung.

He Fang mentioned in the article "Rooted in China, Fragrant in the Four Seas and Five Continents —— Jasmine Collection of Jiangsu Folk Songs" (Jiangsu Music 1992/4) that he learned to sing Mo from a local folk artist in Liuhe and Yizheng, Jiangsu, and the local artists sang lyrics of flowers such as jasmine, honeysuckle and roses. How did he imitate it later?

Three. The spread of jasmine

1. For the spread of Mo in China, what is the imitation of the main article "Rooted in China, Aroma Flows All over Five Continents-Jiangsu Folk Song" Jasmine "? As a lyricist, he talked about how to learn to sing Mo with a local folk artist in Liuhe and Yizheng, Jiangsu, and how to unify the lyrics of honeysuckle, roses and other flowers at that time. He also gave a singing hint to the newly changed lyrics. Finally, he described how 1957, 1959, 198 1 and the 1990s, when the lyrics were changed, were sung at home and abroad.

There are no other research articles about how Mo gradually spread in the north and south of the Yangtze River and where he was first sung. However, Qian Renkang mentioned in his article "How to Renovation School Music Songs" (Selected Works of Qian Renkang (I)) that one of the ways to renovate old and new school music songs is the "Flipping Phoenix" method. He analyzed that Shen Xingong's school songs "Butterfly and Swallow" and "Cutting Braids" adopted the method of "turning over the phoenix", that is, Mo recorded by Hittner. This should be helpful to the spread of Mo.

2. Mo's spread abroad is mainly the two articles of Qian Renkang mentioned above. He verified the spread of Mo abroad: due to the great influence of Barrow's travel in China, German Carl? The music Engel of the oldest country (1818-1882), 1870 Danish Andre. Peter. Folk Songs and Melody (1801-1880), 10 set, 1883 published by Bohemian August, Germany. William? The History of Music written by Ambrose (1 816-1876) and Song and Dance of Various Countries edited by Bloom and Moffat in England in1both adopted or quoted Molly, "65438+. Bantock (1868- 1946) published One Hundred Folk Songs from Various Countries, and his Jasmine was written as a piano accompaniment in the form of a three-part gun. " In the American year, Florence? Hudson? The Japanese school song Jasmine (composed by Ueda Shoushiro) is also based on this tune, and the Italian composer Puccini (1858- 1924) also used this tune in the opera Turandot.

4. A comparative study of Jasmine in various traditional music genres.

Various schools of traditional music mainly include folk songs, folk songs and dances, rap music, traditional opera music and folk music. This paper makes a comparative study of Jasmine in various schools of traditional music. The main articles are: A Comparative Study of the Folk Songs Jasmine of Various Genres of Traditional Music by Qian Guozhen (1994/4), Jasmine Fragrant by Yi People by Feng Guangyu and Folk Songs of the Same Clan in China.

1. A comparative study of Qian Guozhen's folk song Jasmine in various traditional music genres;

(1) A comparative study of Mo's song and dance genres: A. Taking Nanpimo, Hebei Province as an example, describe its dance performance form as a song and dance genre, and analyze its characteristics in rhythm, beat, melody, mode, structure, prelude and interlude; Secondly, taking the Lotus Waterfall in Jizhong and the Northeast Errenzhuan as examples, this paper analyzes the optimistic characteristics of Mo as a song and dance school in the Northeast Color District.

(2) Mo (or coloratura) has been absorbed in modern antithetical couplet rap music: a) coloratura in Beijing Tanxian School songs highlights the rhythm characteristics of fast words and flash words due to the requirement of musicalization of rap; B, the coloratura of Guangxi cultural field is full of elegance, which is closer to Mo in Jiangsu, and maintains the color characteristics of southern folk songs.

(3) Mo (or coloratura) is also used as its own vocal music by modern antithetical drama: a) A coloratura sung by Mo, a kind of traditional Chinese opera popular in Beijing and Tianjin in 1950s, with simple and lively tunes, dense rhythm and proper combination of vocal music; B. Among the tonal vocals of Guangxi Caiflirt, Snowflake Gone with the Wind is a variant of Mo. The whole vocals are simple and refined, which not only retains the typical tune of Mo, but also has the freshness of local characteristic tune.

(4) In national instrumental music, whether it is ensemble or solo, Mo is included in his own playing range. A, the seventh piece of the third set of eight sets of Shanxi drum music "Pushing Axle", in order to promote the climax of the whole set of music, the beautiful lyrical "Mo" is turned into fast and hot music; The piper adapted Mo into four variations of the flute. Music changes from slow to fast, from beautiful to hot, and ends in a climax.

(5) Mo was also adapted into an ensemble of cappella and national orchestral music, and Qian Guozhen did not list them one by one.

2. Jasmine Fragrance mainly discusses the application of Mo in national instrumental music. Taking Mo music in Jinzhong, Shanxi Province as an example, she explained that Mo absorbed "4" and "7" which often appear in Shanxi folk songs when playing as an independent qupai, and formed a distinctive musical tone with a distinctive local flavor. At the same time, the "Mo" music in Jinzhong, as an integral part of the divertimento, was absorbed into the whole set of music. For example, Mo, the third arrangement of Shanxi Eight Sets, shows the instrumental performance different from vocal music by adding words and flowers. At the same time, she also listed some instrumental solos and ensembles with Mo as the theme, indicating that the absorption of Mo makes the expressive force of music more colorful.

3. Feng Guangyu takes Hubei minor coloratura as an example in "Chinese Tongzong Folk Songs", which shows that Mo was absorbed by rap schools and evolved into a basic tune: from the development of lyrics, melody, falling notes and phrases, Hubei minor coloratura was obviously born out of folk songs, but according to the characteristics of folk music,

5. Comparative study on the musical form of the folk song Jasmine from different regions.

The main articles are Yi Yi's Jasmine Fragrance, An Introduction to Han Folk Songs, China Folk Songs and Feng Guangyu's Chinese Tongzong Folk Songs. In addition, Qian Guozhen also discussed it in "A Comparative Study of Folk Song Jasmine in Various Traditional Music Genres". They think that Mo in northern Jiangsu is the mother of coloratura, which is based on Mo in northern Jiangsu and compared with Mo in other regions.

1. Let's look at their analysis of Subei Mo first:

(1) Yi people think that Mo in northern Jiangsu is more euphemistic, beautiful and pleasant to listen to in melody, rhythm, range and drawl.

(2) It is considered that the melody of Su Bei Mo is mainly tortuous and progressive, with few small jumps, and it has typical southern color characteristics. Generally, the lyrics are only the first few paragraphs, and the West Chamber is not sung, which was collected and introduced earlier.

(3) It is considered that, in terms of the configuration of lyrics and songs, Jiangsu's Mo Duo is a word-beat or half-beat, which is very dense, and its singing speed is slightly faster than that of Hebei and Northeast Mo, but its overall style and temperament are more lyrical.

(4) Feng Guangyu thinks that Mo in northern Jiangsu adopts five tones, with smooth melody, steady and changeable rhythm and poetic music, which vividly depicts the image of ancient girls pursuing a better life and is full of appeal. If you sing in Wu language, it will be more profound, delicate, novel and cordial.

(5) Qian Guozhen thinks that Mo in northern Jiangsu is the most characteristic of Jiangnan minor. The rhythm of five tones, progressive melody, four averages, two to one and syncopation makes the song smooth and has the rhythm characteristics of Jiangnan language, while the short third sentence and the preemptive fourth sentence express people's keen love for Jasmine.

2. Next, let's take a look at their comparison of Mo in different places:

(1) In her article, Yi people first compared Mo written by Henan Shangcheng, Gansu Jingchuan, southwestern Jiangxi and Qitai in Shanxi, and thought that although there are many similar music collections in the four melodies, the ups and downs of the melody lines are similar, and they are all key signature, but the falling tones of the first sentence of A and the four songs are different; B, there are no "4" and "7" partials in Jingchuan, Gansu, southwestern Jiangxi and Qitai, Shanxi; C, different places have different habits; D, collected in Gannan tea-picking opera and seven flower drums, combined with dance movements, the shapes and musical images of the four tunes are very different, giving people different feelings.

Then she compared Mo written by Changhai in Liaoning, Nanpi in Hebei and Changshan in Shandong, and thought that their writing styles were rough, and they all had interlining closely related to local dialects. Mo in Nanpi, Hebei, has a fresh sense of color because of the small size of 6#5 and 2# 1. However, "Mo in Heilongjiang" is unique because of the singer's handling, that is, it extends the high notes at the end and injects the lining word "oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh,

In addition, she also compared two kinds of Mo songs with different modes in Shenze County, Hebei Province, namely, the positive tune (local Mo custom, ending in the tone, called the positive tune) and the anti-tune (Mo custom, ending in the Shang tune, called the anti-tune). Although two of their first phrases are repetitive, the progression and falling tone of the music are different, and the music harmony and tone of the second phrase are different. The phrase is extended to five and a half bars, which increases the expressive force of the song. Then the third phrase of "anti-tune" is tightened, and the words of three consecutive sixteenth notes are multi-cavity, which makes the "tune-throwing" shorter and finally falls on the commercial tone.

(2) The Ink written by Nanpi in Hebei Province and Shu Luo written by Rizhao in Shandong Province were analyzed successively. He thinks that Mo written in Nanpi, Hebei Province is a typical Hebei tune, with a large fluctuation of the spin, more jumps to the south, more ups and downs of the spin, more jumps to the south, more decorations (notes and triplets) in front of the words, which are caused by the tone of the words and have a northern color. The stress of each sentence is for the needs of song and dance performances; The long tune and melody material after the paragraph comes from the common long tune in the Lu opera "Siping Tune". Jiang Mingxiang thinks that "Shu Luo" written by Rizhao, Shandong Province (the fourth of the "Four Views" in southern Shandong Province) expresses the yearning for Pan Lang's return from April to June with few melodies and delicate twists and turns, and the third and fourth phrases are closely connected, which makes the lyrics synthesize into a longer sentence.

(3) Zhou Qingqing has compared molybdenum in northern Jiangsu, southern Hebei and Heilongjiang by contrast spectrum. Compared with Jiangsu's Mo, Nanpi's Mo is full of ups and downs, bright colors and rich narrative tunes. However, from the perspective of northern folk songs, Nanpi's Mo is quite gentle and delicate because of its slow speed and the progression of five major steps, and there are five minor intervals in the tune. The melody of Northeast Mo is closer to Hebei Mo than that of Jiangsu Mo, but it is straighter, simpler, more jumping and larger than that of Nanpimo, so it looks more angular and has fewer details. Finally, the melody backbone sound of the drawstring is exactly the same as that of Mo in Nanpi, but the style is different, and it has the characteristics of heroic, bold and quick-talking in Northeast China.

(4) Feng Guangyu analyzed Mo written by Hui people in Nanpi, Hebei, Linfen, Shanxi, Guyuan, Ningxia and Heilongjiang. He thinks that Mo in Nanpi is a six-tone scale with cadence, which has a wider range than Mo in northern Jiangsu, a bigger and brighter melody and has the characteristics of northern minor. Because the lyrics are the story of Zhang Sheng and Yingying, the narrative and lyricism of the music are organically combined, the tune is both rap and beautiful, and the rhythm is relaxed and brisk. The excellent performance of the folk singer makes the artistic conception of the folk songs strongly rendered.

Mo written by Linfen, Shanxi Province is a seven-tone folk song, with special emphasis on "4" and "7" in melody. The timbre is more natural, which makes the melody more euphemistic. It is a folk song with strong love songs. Folk singers' singing is implicit and profound, and they pay attention to the expression of inner feelings.

Compared with Mo in northern Jiangsu, Mo in Guyuan County of Ningxia has many variations in lyrics content and melody. The alternate appearance of the original "4" sound and the symbol "#4" makes the use of "4" sound very distinctive and causes certain color changes. At the end of the sentence, the accent of "shepherd boy" highlights the local characteristics, but its musical structure and the falling tone of each phrase.

Mo in Heilongjiang is a folk song sung by a male singer. Compared with the vocals of female singers, Mo's vocals are unique and neat, layered, simple and steady, light and beautiful, subtle and full of enthusiasm. The melody of the song is concise, simple and humorous, the speech speed is slow, and the lyric is warm and cheerful. The lining words of the opening sentence and the lining cavity of the closing sentence echo each other from beginning to end, which is quite distinctive. The melody is angular, rigid and flexible, natural and ups and downs, which really shows people's joy in loving jasmine.

To sum up, "Jasmine" has produced many varieties, which are colorful and unique. In order to meet the needs of people from all walks of life, it has mainly become the theme of music in various genres of Han music. Once again, the affirmative answer is that the tune of jasmine used in Puccini's opera Turandot is jasmine () recorded by hittner in China during the Qianlong period. The fragrant jasmine brings us pride and many beautiful artistic enjoyment. I sincerely wish our jasmine flowers will never be defeated, and the more they bloom, the more beautiful they will be!

References:

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