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Influence of Music INFLUENCE OF CHINESE STYLE IN THE FIELD OF MUSIC
What is “Chinese style”
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some people sum it up as a unique Chinese music genre combining “three ancients and three new” (ancient poetry, ancient culture, ancient melody, new singing method, new arrangement, new concept). Most Chinese style songs are based on R&B, combined with the traditional tunes of Chinese music, with the addition of national instruments such as erhu, pipa, and flute, often imitating or quoting the singing of Peking opera, opera, and Chinese folk songs, and the lyrics have a Chinese classical artistic conception. Chinese style songs have successfully borrowed the elements of Peking opera, mainly infiltrating the opera elements into popular music from the three aspects of lyrics, singing and orchestration.
Lyrics and Material
The lyrics of a song written by Jay Chou and sung by Coco Lee vividly describe the scene of the opera performance: “Playing with a flower gun is a backflip, and the waist is steadily pierced with the horse; playing with a flower gun is more beautiful than anyone else, and then sing a paragraph. Yu Ji and the Overlord; the troupe playing the flower gun stage, the sound of the erhu pulls, and the audience applauded vigorously; The scene, it is eager to put on gorgeous and beautiful opera costumes to have an addiction
The song of the same name in Wang Leehom’s “Heroes” album is based on the Peking Opera “Farewell My Concubine”. “Domineering and arrogant in the Central Plains, the king raises the beacon, strives to push the mountains and rivers, and the grandeur is triumphant.” A few lyrics sang the overlord’s momentum. The first main song “Hua Tian Cuo” is based on the representative play “Hua Tian Cuo” of Xun Pai, one of the four famous Peking Opera. The title of the song directly quotes this poetic name.
Mv of “Daomadan” Li Wen
Wang Leehom’s “Heroes”
Tao Zhe’s masterpiece “Su San Shuo” uses the running water allegro of the famous Peking opera “Su San Qi Jie” as its material, expresses the feelings of Su San’s story and composes lyrics based on it. The Houxian’s “West Chamber” is taken from “The Story of the West Chamber”, which describes a romantic and green classic ancient love, with a classic artistic conception. A few lines in the “General Order” “Different skin colors speak different words, the same rhythm has different melody. Your own culture must explain it yourself, and your own stage has our own top”, which expresses the modern people’s understanding of Peking Opera And understanding.
Tao Zhe
Singing
Nowadays, many Chinese-style songs created by popular people follow the context of classical palace-tuned music. The new singer Hou Xian proposed the “gong mode” singing method. Many people think that it has many similarities with the major style commonly used by R&B. The tone-pulling and transphony of the palace mode are also strikingly similar to the trans-phonic techniques in R&B. So the two can blend together very smoothly. In the early days, many pop musicians integrated opera singing into pop music. The melody of the song is adapted from the opera. For example, the melody of the classic band “Fen Mo Life” by Zero Point is derived from Peking Opera, during which the melody of Peking Opera is added. Xie Jin’s “Rap Facial Makeup” is also integrated into Peking Opera singing. The famous musician Zhu Derong’s “Dream of Beijing” first had a Mandarin version, and later it was changed to a Cantonese version of “Lover” sung by Vivian Chow. There is a large section of Peking opera female vocals, and the singing of Peking opera is free and radiant. Aftertaste.
The Peking opera singing in the prelude of the song “Su San Shuo” and the false voice singing accompanied by the door are amazing. A lot of Pap chants deeply and affectionately. Tao Zhe uses “Yeah~, oh~, wo~” and other impromptu singing frequently in his creation, with frequent changes between true and false voices, making him relaxed and comfortable. Tradition and fashion, time and space intersect, witness the promise of loyalty to love.
TANK’s “Three Kingdoms”
The new singer TANK’s “Three Kingdoms” combines rock and Chinese elements, wonderfully adding a feminine Pingju singing method, and composed a moving love song for the soldiers who have gone through the battle in the turbulent age.
Beside the Plum
“Beside the Plum” draws inspiration from Kunqu Opera, which is known as the “fossil” of opera, and incorporates the arias of “Peony Pavilion” and a large number of Peking Opera singing into the rap. In line with the atmosphere of the plot, the rhythm is fast and slow. After a Chinese theme, he showed off a smooth and high-level Rap with incredible rap speed to show its strength. In order to better express the opera, Leehom puts the characters, costumes and costumes of Peking Opera throughout the MV. The brand-new shape not only exudes a strong oriental flavor, which makes the eyes bright, but also fully embodies the music concept of the album. The listener cannot be extricated from the associations and emotions of the reincarnation of ancient and modern times.
TANK’s “Three Kingdoms”
Wang Leehom “beside Mei” Mv
