Musical Characteristics of Chengyingxi: A Musicological Analysis of Four Qing Dynasty Kunqu Operas
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Abstract
Background and Aim: Chengyingxi, a form of Kunqu opera performed for the Qing Dynasty (1644-1912) court, held significant cultural and political importance. This study analyzes the musical characteristics of four representative Chengyingxi works to understand their artistic features and socio-cultural functions within the Qing court.
Materials and Methods: The research examines four representative works: Single Saber Meeting (Dan Dao Hui), The Peony Pavilion: The Interrupted Dream (You Yuan Jing Meng), Welcoming Blessings and Auspiciousness (Zha Fu Ying Xiang), and Longevity and Eternal Life (Wan Shou Chang Sheng). Primary source materials include musical scores from the Jiugong Dacheng Nanbeici Gongpu and librettos and historical documents from the Shengping Bureau archives. A musicological analysis, focusing on melodic structure, rhythmic patterns (using banyan classifications), modal systems (gongche notation), and text-music relationships, is combined with historical contextualization.
Results: The analysis reveals three defining characteristics of Qing court Chengyingxi music: (1) Rigorous musical structures employing specific melodic modes (e.g., Shang, zhi) for contrasting emotional effects; (2) Integration of melodic and rhythmic patterns from Jiangnan folk traditions, adapted to court performance contexts; (3) Diverse musical forms, including solo arias (predominant in scenes depicting individual emotions), choral sections (in ceremonial scenes), and instrumental accompaniment, creating a distinctive "palace style."
Conclusion: Chengyingxi music served multiple functions in Qing court culture, extending beyond entertainment to encompass court ritual, political expression, and cultural integration, particularly during the Qianlong (1735-1796) and Jiaqing (1796-1820) periods. This research contributes to understanding Qing Dynasty court music and highlights the need for further research on Chengyingxi performance practices.
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