Qupai

Aqupai(Chinese:Tên làn điệu;pinyin:qǔpái;also calledChinese:Thẻ bài;pinyin:paizi) is the generic term for a fixedmelodyused intraditional Chinese music.The literal meaning is "named tune," "labeled melody," "titled tune," or "titledsong".Qupaiare relatively brief, most comprising between 20 and 70measuresin2/4 meter.^[1]Manyqupaiare centuries old, but only a few of these have been handed down to the present.^[2]

Qupaiare commonly used in Chinese opera, such askunquandBeijing opera,as well as by folk and ritual ensembles, includingJiangnan sizhuandTaoistritual music.Qupaihave also been used as the basis for 20th century compositions for Chinese instruments, both solo and ensemble. In these contexts, these stock melodies very often serve as a basis for melodic elaboration andvariation.This variation is particularly well codified in thetaoqustructure ofChaozhou xianshimusic.^[3]

TheBaisha xiyuetradition of theNaxiofLi gian g,Yunnanutilizes 24qupai.

Notablequpai

Ba Ban ( tám bản, Eight Beats)
Huang Ying Liang Chi ( hoàng oanh lượng cánh, Oriole Soaring)
Jiang Jun Ling ( tướng quân lệnh, General's Command)
Liu Qingniang ( liễu thanh nương, Lady Green Willow)
Qiansheng Fo ( ngàn thanh Phật, A Thousand Buddhas)
Shui Long Yin( rồng nước ngâm, Water Dragon Chant)
Wan Nian Huan ( vạn năm hoan, Everlasting Joy)
Xi Jiang Yue ( Tây Giang Nguyệt, Moon Over the West River)
Vu Sơn đỉnh
Tức ( Ngũ Tam điểm )
Năm cái mõ
Ba âm hàng cái
Đẩy lộc trục
Mười phiên
Si Gong Zhu ( tứ công chúa, Four Princesses)

References

^[1]^{[dead link]}
^Bell Yung, Evelyn Sakakida Rawski, Rubie Sharon Watson (1996).Harmony and counterpoint: ritual music in Chinese context,p.30.ISBN 978-0-8047-2658-0.
^"EOL 8: Birth of a New Mode? (Dujunco): Chaozhou Modal Practice",Ethnomusicology OnLine.

External links

Xi Jiang Yue ( Tây Giang Nguyệt ) Moon Over the West River in Chinese Calligraphy,Big Seal Script.
Harris, Rachel (2004).Singing the village: music, memory and ritual among the Sibe of Xin gian g.ISBN 978-0-19-726297-9.
Witzleben, John Lawrence (1995)."Silk and bamboo" music in Shanghai: the gian gnan sizhu instrumental,p.70.ISBN 978-0-87338-499-5.

[1] [1]^{[dead link]}

[2] Bell Yung, Evelyn Sakakida Rawski, Rubie Sharon Watson (1996).Harmony and counterpoint: ritual music in Chinese context,p.30.ISBN 978-0-8047-2658-0.

[3] "EOL 8: Birth of a New Mode? (Dujunco): Chaozhou Modal Practice",Ethnomusicology OnLine.

[1]

[2]

[3]

Notablequpai

See also

References

External links