Chapter 18 The Late Romantics Global Perspectives: Musical Drama Worldwide

Key Terms Beijing opera Jingju Jing Jinghu Erhu Yueqin Heterophony

Chinese Opera (1) Jingju = theater of the capital We know it as Beijing opera, the most famous variety of Chinese musical drama One of more than 300 varieties of music drama Beijing opera is a rich amalgam Song, spoken dialogue, instrumental music, dance, elaborate costume, & martial arts In its diversity, jingju comes closest to being a truly national tradition

Chinese Opera (2) Relatively recent product of a long, complex history Borrowed many stylistic features from provincial dramas in the late 18th century Other features developed in the 19th century Reached its current form in the late 1800s Striking changes continue in the Communist era

Voice Types in Beijing Opera (1) European opera has long linked specific character types to certain voice types Young lovers are sopranos & tenors Maids are altos & fathers are basses Similar connections in Beijing opera Romantic, dreamy young men sing in a high register, often in falsetto Older, bearded men, trusted advisors, sing in a high baritone range Warriors use a forced, throaty voice (& must be skilled acrobats)

Voice Types in Beijing Opera (2) Jing = face-painted role May be a warriors, dashing bandits, or gods More elaborate face paint than other roles Specific colors & patterns reveal much about their characters They sing in a loud, hoarse manner Female roles traditionally taken by men Mature, virtuous women use refined falsetto Young, lively women use suggestive falsetto Also an acrobatic female warrior

The Orchestra Beijing opera uses a small orchestra Group of drums, gongs, cymbals A few wind instruments Group of bowed & plucked string instruments Percussion group used for battle scenes Can also introduce scenes, provide sound effects, announce entrances & social status of different characters, & play along with songs String instruments introduce & accompany songs

Beijing Opera Songs Uses a wide range of vocal styles From full-fledged song to heightened, stylized speech to normal speech (for minor roles) Songs are the musical heart of the drama Marked off from other singing by lyrical style Rough equivalent of arias in Italian opera Songs not composed for each new drama Music chosen from a stock collection of tunes Fitted to the words for each new libretto Important to choose melodies & percussion patterns that fit the emotional situation

The Prince Who Changed into a Cat (1) One of the most famous Beijing operas Story of Empress banished from Beijing Emperor’s other wives want to be rid of her Her newborn son is stolen from his cradle & replaced by a cat Our scene takes place years later A wise, just Prime Minister meets the Empress Once satisfied she is truly the Empress, he decides to restore her to her rightful position Our aria takes place as he first meets her

The Prince Who Changed into a Cat (2) Introduction begins with percussion Percussion accompanies Minister’s entrance, signifies his importance Note accelerando & decelerando Then strings & wooden clapper enter Three strings play the melody in heterophony Jinghu – high-pitched bowed two-string fiddle Erhu – lower-pitched bowed fiddle Yueqin – moon-shaped plucked lute – plays rapid, strummed repetitions of melody notes

The Prince Who Changed into a Cat (3) The Prime Minister begins his aria Bearded old-man role in high baritone range Sings same melody as strings in heterophony Slightly nasal quality is typical of the style Melody often sounds pentatonic But uses a seven-note scale with much ornamentation & pitch-bending At very end, Minister addresses Empress Uses the heightened, stylized speech typical for his character type & social standing