Love classics.

Classical literature in China: The Book of Songs, National Style, Ode to Ya, Lisao, Jiuge, Jiuzhang, Tianwen, Jiubian, Zhouyi, Shangshu, Chunqiu, Zuozhuan, Guoyu, Laozi, Zhouyi. Scholars, Flowers in a Mirror, Notes on the Jade Beginning, Complete Poems of Tang Dynasty, Biography of Taishou, Ancient Literature View, Romance of the Three Kingdoms, The Journey to the West's Water Margin, Romance of the Gods, Jin Ping Mei, Warning Story, Shi Yuming, Biography of Awakening the World, Biography of Heroes of Children and Children and Stone Case-solving.

Chinese classical music

The origin and development of pentatonic scale and heptatonic scale in China.

Many inventions in China predate those in Europe. China people discovered twelve tones (that is, twelve semitones), more than one hundred years earlier than Europe, and the field of tonality is very advanced. The only regret is that there is no musical work with twelve-tone temperament. China people are really amazing. In the wild era dominated by agriculture, there were so many inventions, which reflected the greatness of the Chinese nation. China's brilliant achievements in the past have shocked countless people. Ji Kangshan's guqin, "Guangling San" and "Meihua Sannong" are impassioned. Since then, music has become an indispensable part of intellectuals' daily life. Chinese classical music, like poems and songs created by poets, can be described as "Chun Xue". And all this is the product of the ideological system reaching a certain height. When it comes to Chinese classical music, we can't help but mention the ancient pentatonic scale. The pentatonic scale in ancient China: Gong, Shang, Jiao, Zheng and Yu, which is equivalent to the five scales of modern music: C, D, E, G and A. Strictly speaking, pentatonic scale is the basis of ancient music temperament in China. Guanzi in the Spring and Autumn Period? In Yuan Di Pian, a mathematical method for calculating the chord length ratio of pentatonic scale is formally recorded, which is called "three-point gain and loss method" in history, and completely describes the names of palace, quotient, angle, sign and feather in pentatonic scale in China. In Zuo Zhuan? Twenty years of Zhao Gong and Mandarin? In Zhou Yu, there are also seven tones coexisting with pentatonic scale. Its semitone position is between four or five degrees and seven or eight degrees, and each tone is palace, quotient, angle, sign change, sign change, feather change and palace change, which is the result of further calculation after obtaining the pentatonic scale by three-point gain and loss method. But from Zuo Zhuan? According to the record of "Nine Songs, Eight Styles, Seven Tones, Six Laws and Five Tones" in Twenty-five Years of Zhao Gong, the change of Zigong is mostly used to enrich and modify the pentatonic scale, which is dominant in music practice. At that time, a system of twelve laws was established to meet the needs of He Shen and the Palace of Revolving. "Mandarin? Zhou Yu named the Twelve Methods "Huang Zhong, Lu Da, Tai Cong, Jia Zhong, Gu Xi, Zhong Lu, Yan Bin, Lin Zhong, Yi Ze, Nan Lu, Wu She and Ying Zhong". Among them, the odd law is called law and the even law is called law, so the twelve laws are often called "twelve laws". The twelve laws are also obtained by the three-point gain and loss method. The theory of "transforming phase into palace" is further established with the concept of pentatonic, heptatonic, twelve-tonal and the palace as the main body in scales. On the basis of the traditional pentatonic scale, the heptatonic scale system is gradually forming and developing seven tonic scales in ancient China: Gong, Shang, Jiao, Wei, Hui, Yu and Bian Gong, that is, C, D, E, F, G, A and B in modern music. The Zhou Dynasty had seven tones and twelve laws. In the 6th century BC, King Jing of Zhou (544 BC? In 52O), he asked Yue Guanling, Zhou Dui, what is a seven-tone scale and what is a twelve-tone scale. When answering the question, Lingzhou dove listed the names of the ranks of Gong, Shang, Jiao, Wei, Wei, Yu and Bian Gong, and explained the relationship between each rank and the twelve laws. The appearance of the seven-tone scale was pushed to the era of Zhou Wuwang's replacement (BC 1O66). China's seven-tone scale is dominated by elegant music and Yan music. Elegant music generally refers to the music used in court sacrificial activities and court ceremonies. Rites originated in the Zhou Dynasty, and were used in rural communities [to worship heaven and earth], ancestral temples [to worship ancestors] and court etiquette [to attend ceremonies, banquets, guests, etc. ], rural filming [the ruler banquets for ordinary people's representatives] and military ceremonies. Later generations' activities of offering sacrifices to sages, such as offering sacrifices to Taibo and Confucius, also imitated and applied the joy of suburban communities and ancestral temples. The ritual and music system of the Zhou Dynasty has strict hierarchical regulations on the ceremonies and tracks of the above-mentioned different occasions. According to legend, Liu Yue was given to Zhou Wuwang by the Yellow Emperor for sacrificial ceremonies and major banquets hosted by the emperor and a few princes, and was regarded as the highest model of elegant music by later Confucianism. The scale of elegant music: (also known as the ancient scale, the old scale or the traditional scale) 1 2 3 4 5 6 7 The upper corner of the palace is changed into a feather-changing palace. Yan music is a very artistic entertainment and appreciation song and dance music from Sui and Tang Dynasties to Song Dynasties in China, also known as feast music. Shen Kuo, a poet in the Song Dynasty, said in "Talk about Meng Xi": "The joy of the former dynasty was elegant music, the new voice of the past life was clear music, and the joy of rivers and lakes was Yan music." Yan Music in Sui and Tang Dynasties inherited the achievements of Yuefu Music, which is a new type of court music that combines Han folk music, other national music in China and foreign folk music. It developed greatly under the impetus of several emperors who loved music in Sui and Tang Dynasties. Emperor Yang Di had 30,000 professional musicians. According to the music sources, the large-scale court bands at that time were divided into nine sections, namely, Le Qing (traditional music), Xiliang (now Gansu), Qiuci (now Kuqa, Xinjiang), Tianzhu (India), Guo Kang (that is, Kangju, now Northern Xinjiang and Central Asia), Shule, Anguo (Central Asia), Koryo and Bi Li (Li Bi). During the reign of Emperor Xuanzong of the Tang Dynasty, there were tens of thousands of court musicians, and five workshops were set up to manage them, and other workshops were set up to coach court music composers. In the early Tang Dynasty, nine songs were changed into ten songs, including: Yanle (Chinese and foreign music mixed), geisha (traditional music), Xiliang geisha, Tianzhu geisha, Koryo geisha, Qiuci geisha, Anguo geisha, Shule geisha, Guo Kang geisha and Gaochang geisha (in modern Xinjiang). By the time of Xuanzong in Tang Dynasty, ten pieces of music were divided into two categories according to the performance form: the left geisha and the inner geisha. Sitting in the room, the number is small, the voice is elegant and delicate, and the skills of musicians are highly required; Geisha in Libu perform outdoors, with a large number of people, often noisy ensembles, sometimes hundreds of performances at a time. Yan music includes a variety of musical forms, such as vocal music, instrumental music, dance, and acrobatics. Among them, song and dance music occupies the most important position in Yan music in Sui and Tang Dynasties. Multi-stage large-scale dance music is called Daqu, which has made outstanding artistic achievements in Yan music in Tang Dynasty. The main musical instruments used in Le Yan are pipa, violin, violin, sheng, flute, Jie drum and. After the An Shi Rebellion, court music declined, and court musicians were scattered among the people. After the reunification of the Song Dynasty, although a teaching workshop was set up to follow the old songs of the Tang Dynasty, Daqu played inside and outside the court was only a part of the prosperity of the Tang Dynasty, and its scale was greatly reduced. Daqu in Song Dynasty began to evolve into a musical, and many paragraphs gradually became qupai, which were scattered in lyrics, operas, rap and instrumental music. Daqu, as an independent music genre, gradually died out. After the Southern Song Dynasty, the mainstream of music development turned to civic art (opera, rap, city songs, etc.). ), and the court's Yanle and Yayue lost their original development momentum.

Edit paragraph 4. Discuss the monosyllabic nature of China's music.

Both the elegant music system and the Yan music system are based on the monophonic system, which is related to the traditional aesthetic spirit of China. The main features of China's ancient aesthetic thought can be summarized as follows: First, "emptiness and quietness". That is, people's psychology is in a state of virtual silence, and they can understand the world without external interference. Su Shi's poem "Silence is the reason why the group moves, and emptiness is the reason why the world is full" precisely expresses this meaning. The second is the beauty of neutralization, that is, in the Analects of Confucius, "happiness without lewdness, sadness without injury." It can be said that "ethereal" and "golden mean" constitute the core of China's ancient aesthetic thought. Taoist thought also influenced the emergence and development of China's music. "Tai Chi gives birth to two instruments, two instruments give birth to four images, and four images give birth to eight diagrams", so there is a "five-degree law" in "Fa". In the Wei and Jin Dynasties, China made a breakthrough in his aesthetic thought. He opposed Taoist quietism, denied the idea of five tones and five colors, and replaced metaphysical poetry with landscape poems and paintings. However, it is not a complete betrayal, but an opposition to naturalistic portrayal, demanding "immortal descent" and "spirit likeness". Therefore, there are five tones of "public, upper, communication, righteousness and Yu". Western music is based on polyphonic system. The author believes that this is closely related to "learning from nature" in western aesthetic thought. As we know, music is produced and developed on the basis of all acoustics in nature. And the natural sound is not only single; Besides, western countries pay more attention to scientific explanation? They found that even a single tone has a lot of overtone support when making a sound. Therefore, the west has "pure law"; Therefore, there are "counterpoint" and "harmony acoustics" in the west. Polyphony music is developed on this basis (at least one of the foundations). The difference between Chinese and Western aesthetic thoughts is that China's music emphasizes the effect of emotion on art and "qualitative beauty". Western music emphasizes imitating nature and pays more attention to "formal beauty".

Edit the start time of this paragraph.

When did China music begin? This question is difficult to determine. According to ancient records, when Fuxi was Nuwa, Qin, Se and Xiao had been invented. At this time, "Qin" is the predecessor of "Guqin" now. There are countless poems and stories written around the guqin, including the poem My Fair Lady, Friends of the Harp. There is a story that says, "Boya was good at playing the piano, and Zhong Ziqi was good at listening. He died when he was a child. Boya broke the piano and never played it again for life. "It can be seen that the sound of the piano is the inner voice. Guqin occupies a very high position in China's music. "Zheng" comes from "color" and has the same effect as "Qin". Because it was popular in the State of Qin during the Spring and Autumn Period and the Warring States Period, it was called "Qin Zheng" in history. The voice of "Zheng" is gorgeous and beautiful, lively and lyrical, and it is good at expressing the artistic conception of flowing water. Today, we put "Qin" and "Zheng" side by side in front of your eyes. I hope you can appreciate the profound cultural origin and rich artistic background of the Chinese nation in the long sound of the piano. Guqin, also known as lyre, or Si Tong, Qilu, etc. Because there are seven strings, it is also called "lyre". The piano body is formed by gluing a panel and a bottom plate, showing a long and narrow shape. Thirteen "emblem" points are embedded in the panel outside the rope. Liu Changqing, a poet in the Tang Dynasty, once wrote, "Your lyre is like a cold wind in a pine forest." Its "seven strings" refers to the guqin, and "Lingling" refers to the timbre of the guqin. Today, when people talk about Chinese classical music and western classical music, some people think that China's music, especially classical music, has been declining for nearly two or three hundred years. Not only did all kinds of musical instruments not develop, but even composers only appeared at the end of 19 and the beginning of the 20th century, not to mention all kinds of music scores (what's more, China didn't have any real music scores at all). As far as the piano is concerned, as early as the Baroque era, it had the embryonic form of development. Then after classical, romantic, modern and even later generations, its industry has developed to a considerable extent, and its timbre and timbre are quite perfect and accurate. However, China's classical instruments have really been dragging their feet. But I think China's traditional classical music, on the one hand, has industrial factors in it, and at the same time, has China's traditional ideas in it. First of all, China is a discriminatory attitude towards artists; Secondly, the traditional thought strives for simplicity, inaction, purity and leisure, unlike the western thought, which strives for preciseness and meticulousness: China's music scores, such as Guangling San, Yuefu, Shijing, Song Ci and Yuanqu, abound, but now the so-called music score has been lost, leaving only the literary part. As for classical music, one of my views is that China's art is superior to that of the West. The reason why he is not accepted by westerners, or those who only admire Western culture without studying their own culture, is because China culture is a comprehensive and all-inclusive culture and art, and it is a synthesis of political philosophy, art, social science, astronomy and other disciplines divided by the West. For example, an ancient poem is also a reflection of a philosophical point of view, an artistic expression (the singing method of ancient poems is said to have been lost), and so on: if the same ancient literati achieved something in his career by relying on his fame, he may be a politician, a writer, a military reformer (China's original literati read widely, but actually only one article has many aspects of knowledge), an astronomer, a geographer, and so on; If the officialdom is frustrated, he may become an artist, a chess player or even a doctor (many scholars in ancient times have always been good at distinguishing yellow). These, I think, all come from the thinking mode of Chinese and western cultures: China is deductive method, and Greek culture, the source of western culture, is summary method.

Edit the timbre of this classical instrument

The ancients paid special attention to the atmosphere when playing musical instruments. They must burn incense and take a bath first, purify their minds, adjust their spirits and play guqin.

This is similar to the source of Buddhist culture, which embodies the profoundness and nobility of Chinese musical instruments. China's ancient musical instruments reach the soul directly through the senses, and they reverberate in the depths of the soul, with endless aftertaste. The timbre of Chinese musical instruments has always been unique and irreplaceable. All musical instruments that have been eliminated in history or have not been circulated for a long time or are widely used are mostly because their timbre is similar to other musical instruments. Luther was almost extinct because of his similar timbre to Zheng and Zou, and the flute has been lost for a long time because of its similar timbre. So good musical instruments have their own characteristics. Guqin is like a generous and tolerant celebrity.

guqin

The ancients said: "Among the eight tones, only the string is the most important, and the piano is the first", and "among all musical instruments, the virtue of the piano is the most important". This word refers to guqin. Guqin has accumulated rich cultural connotations because it has been in the hands of literati for a long time, and it also has elegant and poetic names, such as "Green Seven", "Nine Clouds Surrounding Pei" and "Bright Moon on the Sea". Although the Guqin in Tang, Song, Yuan, Ming and Qing Dynasties has a high cultural value, it has always been used as a living and vital musical instrument, not just as a cultural relic or handicraft. "The pianist relies on the sound of heaven and earth" and "catches the gods and surprises the ghosts and gods", so drums are played and birds gather together to listen; Shi Kuang Guqin, Liu Ma Yangyuan, Xuanhe Yanjing ... Almost all the stories about music come from Guqin. Guqin also has a very broad artistic expression, which is elegant, simple, round and full of penetrating power and texture, so its performance realm is very broad: Pingsha is wild, elegant and pure, Hua Mu is three rural areas, Yuqiao is a question and answer, Guangling is scattered, Nagato is resentful, and it is magnificent.

Houkong

If guqin is a famous artist, then elegance is a kind of elegant elegance.

People. Among all musical instruments, the graceful shape is the most special and beautiful, and it has a long history like guqin. Its timbre is more clear, mellow and melodious, and it is also the only instrument that can play melody with both hands. According to the Records of Sui Shu Music, it originally came from the Western Regions, so it is even more mysterious. Bai Letian described the pipa as "like pouring pearls, big and small, into a plate of jade", but I think this sentence is more suitable to describe the graceful rhyme. It is softer and more elegant than the pipa, like a slender woman with long sleeves and good dancing. When an ethereal and freehand poem "Bamboo" came, the clouds in the wilderness slumped and stagnated, keeping people away from the noise and smoke. Another example is the traditional woman with modern factors, whose timbre is crisp and elegant, but it is different from the calm and elegant Guqin. Liu Xi's book Ming Shi in the Eastern Han Dynasty explained: "Zheng, the string is high and urgent, and it is natural." Explain that the Zheng is named after its own "Zheng, Zheng" sound. The artistic conception of "moonlight on the spring river" and "fishing boat singing late" is most suitable for guzheng interpretation, and the rhyme of any instrument can not be so perfect. The ancients once said that "all the seats are silent, and a line of geese mourns thirteen", describing that the art of playing Zheng has reached a state of relaxation.

cucurbit flute

The appearance of cucurbit silk is unpretentious and unpretentious, just like the innocent and carefree cucurbit silk next door at the age of seventeen or eighteen.

Girls give people a feeling of pure beauty and pleasure. However, it has a particularly strong sense of rhythm and a cordial and moving tone. It can convey the pure love between men and women, it can be the sound of beautiful mountains and rivers in Yunnan, and it can also be the beautiful and colorful feather screen of a peacock, but it has no open image. "Bambusa in the Moonlight" is a sweet and crisp little jasper humming, and "A Beautiful Place" is a graceful daughter-in-law singing. Such a romantic and charming melody is the best background for an elegant place.

pipa

Pipa's lines and shapes are very soft, and it looks like a pipa in silence.

Sexy woman. But its character is heroic, just like a domineering warrior. Therefore, it is the best interpretation of "Overlord Dismantling Armor" and "House of Flying Daggers", because its density, strength and noisy sound always make people nervous and worry that the strings will break at any time. Generally speaking, the mood is not suitable for listening to such music.

China clarinet

Dong Xiao is more like a reclusive monk, always forgetting himself by the pine forest and secluded stream in the moonlight. In fact, the source of today's Dong Xiao is the Qiang land in the Han Dynasty. The emotional tone of Wang Zhihuan's "Why the Qiangdi Blame the Willow" also shows the emotions that Qiangdi and Dong Xiao are good at expressing today. Dong Xiao and bamboo flute are similar in appearance, and both play musical instruments, but the flute is thick, high and loud, which is quite different from Dong Xiao. Slightly melancholy "On the Phoenix Tower, I remember playing the flute" whispered the history of the flute and the touching legend of Nong Yu. Bamboo flute can't be imitated. At the same time, it also contains Zen, and the monk path in the cold mountain and the Zen forest in the deep mountain are most suitable for it. The deep and distant voice is endless, which makes people feel the profound return and birth in a trance.

erhu

Erhu is an old man who has experienced many vicissitudes. Perhaps it is more appropriate to say that he is blind, A Bing. A Bing is actually very good at playing erhu.

He is a talented musician and knows many musical instruments, such as arpeggio, saxophone, sheng and drum. But he only admires Erhu, and his experience background is so similar to Erhu's personality! Only such people can be integrated with erhu. The tool of this tragedy is himself. He just started tuning, and you felt that kind of distress and sadness. The loneliness and misery of maids in Autumn Moon in Han Palace and the fate disaster in Two Springs Reflecting the Moon are all complaints about life in a cold night. It's just that the elegant title of "Two Springs Reflecting the Moon" is not in harmony with the artistic conception created by the song itself, as if it were a deliberate irony.

Six-hole oval ceramic wind instrument

The urn is the most indescribable thing among all musical instruments. It is made of soil, and the sound it makes is also the whimper of the soil. Like a martyr buried after a thousand years, with endless sadness. Let's just say, just like a ghost, it doesn't belong to the world, the sky, the human beings, and you have roots.

I don't know where its sound comes from. If it is far away, it is so misty. The vastness and sadness of sorrows and sorrows, and the simplicity and gloom of Chu ci show extreme desolation and irrelevance. Clouds are musical instruments of meditation and nostalgia. Le Shu said, "Rhyme is an instrument, and the voice of beginning of autumn is also". The voice of the cloud is the bleak voice of the west wind in beginning of autumn, which is unusually calm and thought-provoking. Maybe people can't stand the heavy sadness, so few people "feel"-I think it's the cloud. Every musical instrument enslaves the thinking nerves of the player and the listener, and feels it quietly. You will be entangled and infected by the invisible net, which is a state of being enchanted, and you will not find yourself until the end of the song.

China classical opera

China's five major dramas are: Peking Opera, Yue Opera, Huangmei Opera, Pingju Opera and Henan Opera. There are about 360 kinds of traditional operas and tens of thousands of traditional plays in ethnic minority areas in China. After the founding of New China, many traditional plays have been adapted, and new historical plays and modern plays that express the theme of modern life have been warmly welcomed by the audience. The more popular and famous operas are: Shaanxi Opera, Beijing Opera, Yue Opera, Huangmei Opera, Pingju Opera, Henan Opera, Kunqu Opera, Guangdong Opera, Sichuan Opera, Huai Opera, Jin Opera, Han Opera, xiang opera Opera, Chaozhou Opera, Fujian Opera, Qi Opera, Puxian Opera, Hebei Bangzi Opera, Hunan Opera, Shandong Opera, Ancient Painting Opera and Anhui Opera. Traditional Chinese opera is one of the traditional arts of the Han nationality. It has all kinds of interesting dramas, singing and dancing in the form of performance and rap, which is literary and martial. This is unique in the history of world drama. Its main features are as follows: Take Peking Opera, the representative work of Han Chinese classical opera art, as an example. First, men dress up as women and women dress up as men; The second is to divide life, Dan, essence and ugliness into four major industries; Third, there is an exaggerated makeup art-Facebook; Fourthly, "costume" (that is, costumes and props of China traditional operas) basically have fixed styles and specifications; The fifth is to use "procedures" to implement. The national operas of the Han nationality, from Daiyou in the pre-Qin Dynasty, Baihong in the Han Dynasty, Joining the Army in the Tang Dynasty, Zaju in the Song Dynasty, Nanju in the Southern Song Dynasty and Zaju in the Yuan Dynasty to the unprecedented prosperity of local operas in the Qing Dynasty and the formation of Peking Opera, have always been rooted among the Han people and enjoyed by the people. Going to the theatre is still one of the main recreational activities of the Han nationality. Generally speaking, northerners like watching Peking Opera, while southerners like Yue Opera. All kinds of local operas have their own audiences. People who are far away from home even regard listening to and watching national operas as a sign of missing their hometown.

Classic repertoire of Beijing Opera: Farewell My Concubine (Mei School), Legend of the White Snake, Dingjun Mountain, Drunken Guifei (Dan Jiao Opera), Hero Club, Borrowing Dongfeng (Xu Sheng), Yutangchun (Cheng School), Nine Clothes, Wen Zhaoguan and Wangjiang Pavilion. ......

Butterfly lovers, A Dream of Red Mansions and The West Chamber, the classic tracks of Yue Opera, have won great fame at home and abroad, such as Detective Love, Chasing Fish, Biography of Spring Fragrance, Meng Lijun, Peacock Flying Southeast, He Wenxiu, Prince of the Desert, Nine Clothes and Jade Dragonfly.

Classic repertoire of Huangmei Opera: Qin Tune, Wang Ying Triple Beat, After Reunion, Spring Grass Running to the Moon Hall, Autumn Poems, Tears in the New Pavilion, Golden Palace Leng Yue, Ye Liniang, Beggar, and Jiang Shangxing.

Kunqu Mudan Pavilion

Kunqu Opera is an ancient drama in China, also known as "the mother of China opera". Kunqu Opera was formed in Kunshan, Jiangsu at the end of Yuan Dynasty and the beginning of Ming Dynasty, also known as "Kunshan Opera". Wei Liangfu, an outstanding opera musician in Jiajing period of Ming Dynasty, made a great reform on Kunshan Opera. He absorbed all kinds of vocals of Nanqu, melodic singing methods of Jin, Yuan and Northern Song Dynasties, and folk ditties of Jiangnan, and created a gentle and euphemistic "water mill tune". Liang Chenyu, a playwright who chose his surname at the same time, wrote a play "Huansha Ji" specially for Kunshan dialect, which caused a sensation in the south of the Yangtze River and quickly swept the country. At the end of Ming Dynasty and the beginning of Qing Dynasty, Kunqu Opera was once prosperous, more refined and perfect in art, and became a kind of drama with national influence. During the Qianlong period, the art of Kunqu Opera was plundered by the ruling class, and its content tended to court, so that it was divorced from the people and gradually declined. On the eve of liberation, it was on the verge of extinction. After liberation, some people wrote and sang Kunqu opera. Singing and other aspects of reform, and strive to be easy to understand. From 6: 438 to 9: 56, Zhejiang Troupe successfully performed "Fifteen Levels" in Beijing, which caused a sensation throughout the country. 1957 According to the instructions of Premier Zhou, the Northern Kunqu Opera Theatre was established. Kunqu Opera, an ancient drama, is full of artistic youth. Kunqu opera has a history of more than 500 years, forming a complete performance system and a unique vocal cavity system. Its repertoire is rich, its script dictionary is elegant and gorgeous, and it is very literary. Pay attention to four tones in pronunciation and articulation, strictly abide by rules and regulations, and be rigid. The tune of Kunqu Opera is Qupai style, and each play consists of a complete set of Qupai. The song is mellow and melodious. Exquisite performance, close combination of body movements and singing, and strong sense of dance. The accompaniment instruments are mainly flutes, and sometimes sanxian, sheng and suona are also used. In the mid-Ming Dynasty, Kunqu spread to the north, and through the efforts of many artists, Kunqu was combined with the language of the northern region to form "Northern Kunming"; Kunqu opera was first popular in Jiangsu and Zhejiang provinces and was called "Nankun". There are many martial arts performances in Beikun, showing that the wind shed is strong and unrestrained; Nankun, on the other hand, pays attention to pronunciation, exquisite workmanship, more graceful and restrained, and lingering. Kunqu Opera plays an important role in the history of China opera, which has a direct impact on the formation and development of Beijing Opera and local operas such as xiang opera and Sichuan Opera. Peony Pavilion is the masterpiece of Tang Xianzu, a famous writer in Qing Dynasty, and it is still widely circulated.

Catalogue of traditional operas

The drunken lady, Farewell My Concubine, shed tears on the barren hills, locked the kang, packed the jade bracelet, got off the Huaihe River camp, borrowed the east wind, crossed Hongyang Cave, and let Xuzhou, Baidicheng and Xu Ce run to the city, chasing Han Xin and Dingjun Mountain, and beat the dragon robe, the beauty case and Gu Chenghui. Detectives in The Twelfth Night of the Legend of Spring Fragrance in Meng Lijun, The Gentleman in Li Wa Hua's Biography, The Legend of the Lotus Girl, A Dream of Red Mansions in New Edition, A Dream of Red Mansions, A Cold Dream, January in Liao Palace, Sisters in Jade Hostel Return to Xianglinsao in Early Spring, No.1 Scholar in February, Finger Broken in desert prince Meilong Town, Yang Naiwu, etc.

Classical songs

You can find classical folk music, songs by Dong Zhen and thomas lee.