Quanzhou Beiguan

Name of China's national intangible cultural heritage: Quanzhou Beiguan

Applicant: Quanzhou City, Fujian Province

Project No.: 103

Project No.: Ⅱ - 72

Time of publication: 2006 (the first batch)

Category: Traditional Music

Region: Fujian Province

Type: new item

Applicant: Quanzhou City, Fujian Province

Protection unit: Quangang Beiguan Heritage Protection Center

Brief introduction of Quanzhou Beiguan

Applicant: Quanzhou City, Fujian Province

Quanzhou Quangang District is located on the South Bank of Meizhou Bay, near Hong Kong and Macao, facing Taiwan. It is the intersection of Minnan and Puxian languages. There are Nanyin opera, Xiangju opera, Gaojia opera, puppet opera, Puxian opera and other folk art forms. Quanzhou Beiguan is a wonderful folk music growing in this special geographical environment and artistic atmosphere.

Beiguan, also known as Beiqu, Xiaoqu, Xiaodiao and quzai, is a kind of silk and bamboo music widely spread in Quangang District of Quanzhou City. There are also Beiguan associations in Taiwan, Singapore and Malaysia. In the early years of the reign of Emperor Guangxu of the Qing Dynasty, folk music in the area of Jianghuai entered Quanzhou city with the arrival of sea transport ships, salt soldiers from the South and refugees from the Huaihe River, and gradually formed Quanzhou Beiguan music. Quanzhou Beiguan music experienced the embryonic development period (from the late 1870s to the 1920s), the peak period (from the late 1920s to the early 1950s), and the low tide period (from the late 1950s to the early 1950s) The five stages, i.e. the period of recovery (1977-1994) and the period of innovation and development (1995-now), have been passed down to the present.

Beiguan is divided into two categories: music and music score. Music is vocal music and music score is instrumental music. Most of the songs come from Jianghuai minor since Ming and Qing Dynasties, and most of the scores come from Guangdong music, Jiangnan Sizhu and Peking Opera. Most of the lyrics are narrative lyric and scenery Lyric. The lining word "ouch" is often used at the sentence, passage and the end of the song. The Mandarin (Huguang dialect, equivalent to modern Putonghua) is used for singing. In the prelude, sentence and end of the song, the singer often accompanies the music with percussion instruments, which adds a lot of vitality to the song. At the same time, some singing methods of Puxian music and Nanyin are used for reference to make the singing loud, powerful, melodious and gentle. When performing music, gongs and drums are generally not used. Only board or wooden fish drums are used to beat strong beats. It is common to join several pieces of music, and it is also composed of plate style. The band continues to use Jiangnan Silk and bamboo instruments, and participates in Minnan and Puxian music. The main musical instruments are Jinghu and dizi, as well as Yueqin, Sanxian and Shuangqing. The representative tunes of Quanzhou Beiguan include four sceneries, picking lotus, picking mulberry, jade beauty, red embroidered shoes, going out of the Han pass, playing flower drum, etc., and the scores are Liuchuan, caoqin, guangdongchuan, Suzhou Chuan, hualiuban, Sanban, general order, taipingge, Pingban, xingban, baduantou, dabuantou Eight boards, Jiangnan big eight boards, etc.

The music style of Quanzhou Beiguan not only retains the bright and elegant folk songs in Jianghuai area, but also adds the soft and graceful beauty of Minnan and Puxian music. It has a strong and simple personality and is known as "the voice of the emperor". It plays an important role in the research of the relationship between Taiwan's northern music, Japanese throne music and Quanzhou's northern music, the cultural exchange, economic trade between China, Japan, Fujian, Taiwan and Quanzhou, Guangdong, Jiangsu and Zhejiang, and the transition between Fujian folk music's southern Fujian color zone and Puxian color zone.

Chinese PinYin : Quan Zhou Bei Guan