Folk songs in Ming and Qing dynasties are mainly popular in rural areas and "ditties" in cities. They have made great progress in thought and art, with rich contents and various forms. They inherit and develop the realistic tradition of folk songs in past dynasties, and their characteristics are sincere expression of people's true feelings and real life. They are highly ideological and combative, forming the outstanding characteristics of music culture in this era.
As early as the end of the Yuan Dynasty, the ditties such as Guizhi Er and Shanpo Yang were already used in Pipa Ji and other Yuan songs. Xiaoqu was first popular in towns and villages around the country, and later entered the city. Through the efforts and creations of professional folk artists in the city, they became more mature in art. Around Xuande and Wanli in Ming Dynasty (A.D. 1426- 1620), many ditty centers were formed in Beijing, Bianliang, Yangzhou, Chengdu, Quanzhou and Panyu. There are both exchanges and different creations between these centers.
The ditty in Ming and Qing dynasties is different from the orthodox literature and art in feudal society and the aristocratic lyrics of literati and scholars. It shows the vulgarity of "citizen literature and art" more, and reflects the rebellious spirit of emerging capitalism against feudal relations of production.
The Ming and Qing Dynasties were the period when China's capitalist economic factors began to sprout. The commodity economy is unprecedentedly prosperous, and the urban and citizen classes are constantly expanding. Therefore, works reflecting the contradictions and struggles between the civil class and the ruling class have also appeared in large numbers.
In such an era full of contradictions and new economic factors, the original singing forms such as poems, words and songs have been divorced from people's lives and appear lifeless, while the singing of ditty has appeared the scene of "regardless of the north and south, regardless of the quality of men and women, everyone loves to listen to their ambitions", and even it has been published and circulated in the world, which has aroused people's heartstrings (Shen Defu's Wild Acquisition). Therefore, colorful and unique folk songs are not only loved by the broad masses of the people, but also aroused the "shock" of literati.
The emergence and development of folk songs in Ming and Qing dynasties conformed to the historical trend and showed the people's outstanding creative ability. For example, Yuan Hongdao once said, "I said today's poem is not good, but if it is good, or if today's Yan Lu woman sings like a child, she will break the jade and beat the jujube stick ..." Feng Menglong said; "There are fake poets and no fake folk songs in the world"; Li Kaixian said: (folk songs) "Like the wind of fifteen countries, it comes from the mouth of a woman in a lane, and love words are graceful and restrained. Since you are not a poet of this generation, you can't dye your heart and bleed. What you can do is true. " Zhuo York even said: "I know Tang poetry, Song lyrics, Qu Yuan's poems, as well as Wu Ge, Guizhi Er, Luojiang powder, jujube branches, silver twisted thread and so on." As a result, they studied folk songs hard and began to collect and sort out a lot, trying to absorb fresh and beneficial nutrition from them in order to save the declining style of writing at that time. Judging from the development history of China's music, the work done by the literati in Ming Dynasty was indeed a pioneering work, which replaced the work of collecting and sorting out folk songs mainly set by the rulers of previous times. The private collection of folk songs by literati in the Ming Dynasty is rare in the world for its wide range and large quantity. There are thousands of folk songs compiled by Feng Menglong, a famous writer in Ming Dynasty. After absorbing the nutrition of folk songs and ditties, Ming and Qing literati wrote many excellent Sanqu.
The theme of ditty is very extensive. Here are some examples:
Oppose feudal exploitation and expose the dark society;
Grab the mouth of Mud Swallow, sharpen the iron needle, scrape the face of the Buddha and search carefully, but find something in nothingness. Quails are looking for peas, cranes are chopping lean meat on their legs, and mosquitoes are looking for fat in their bellies, thanks to the old gentleman.
-Li Mingxian's "Laughter"
God, you are old, deaf and blind, unable to see or hear. Those who kill and set fire enjoy glory, and those who are vegetarian and recite scriptures starve to death. God, you can't build heaven, you are falling! God, you can't build heaven, you are falling!
-Ming "Doupeng Gossip, Tone sandhi Quer"
The first song strongly exposed the insatiable nature and vicious exploitation means of the ruling class, and expressed the strong hatred of the people with bitter satire and ruthless ridicule; The latter reveals the darkness and injustice of society more sharply. "You are broken!" This is the voice of the people's anger, a curse to the dark society and a curse to the rulers. Very vivid and inspiring.
Ming and Qing Dynasties were the end of feudal society in China, and the contradiction between farmers and landlords was unprecedented. At this time, there are not only works that expose the dark society, but also a lot of works that directly reflect and praise the peasant uprising.
The Ming and Qing Dynasties were also the period with the most ethnic contradictions. Legend 44 Feng Menglong Folk Songs Collection
Sharp times, War of Resistance against Japanese Aggression in the late Ming Dynasty, the struggle against aristocratic rule and oppression in the late Ming and early Qing Dynasties and even the whole Qing Dynasty are all reflected in folk songs. The people had to rise up against the cruel class oppression. Here are some songs about the peasant uprising:
Seek promotion in the morning and harmony at night. It is difficult for the poor to survive recently. Open the door early to worship the king and discipline the size with joy.
-Ming Liu Qi's "Next Season's North Strategy"
During the Shunzhi period of the Qing Dynasty, farmers in Qixia County, Shandong Province revolted. At that time, a folk song enthusiastically praised Yu Qi, the leader of the rebel army.
The peasant uprising led by Yu took place at the beginning of the establishment of the ancestor of the Qing Dynasty. The "sawtooth" in the lyrics refers to Yashan, 90 miles east of Qixia County, where Sun Long is a bully and Qixia County is a "martial art". "December" is a fixed tune, which is repeatedly used in many folk songs to express a specific content. It is also a traditional form of expression in China folk songs such as Four Seasons and Five Tables. Songs are equipped with musical instruments, similar to yangko tunes. This is an interlining sentence commonly used after the third and fourth sentences in folk songs to strengthen its expressive function.
Spectrum Example 8 "Qiyu Kangqing December"
This folk song changed "lines" to gongs and drums, which strengthened the lively and warm atmosphere of music and showed the heroic spirit of the rebels.
Songs against the bondage and persecution of young men and women by feudal ethics also accounted for a large proportion in Ming and Qing ditties, reflecting the pain caused by the unreasonable marriage system in Ming and Qing Dynasties. For example:
My 18-year-old daughter Lang will hold Lang to her gums at night. It's not like my in-laws are here. You are my son and I am my mother.
Sichuan folk songs
In the folk songs of Ming and Qing dynasties, "love songs" occupy a large proportion. This kind of folk songs inherited the excellent tradition of China folk songs in past dynasties, enthusiastically praised the innocent love life of working people, showed their pursuit of happiness and love, and were full of fighting spirit against feudal ethics. Such as "Folk Songs on the Moon" and "Folk Songs Stealing":
When he made an appointment with the moon, Li ran to the top of the mountain to see the canal. Gee, as early as the low moon in the mountains; Gee, Fu Zhilang is late at night.
Don't panic when you know about the affair. Be an adulterer. Spell official knees steamed bread, kneel down to tell the truth, bite nails and chew iron, I steal lang.
How bold is the pursuit of pure love, which reflects the rebellious spirit of young men and women against feudal ethics from one side.
Among the folk songs of the Ming and Qing Dynasties, there are also songs that show the consciousness of the new citizen class, reflecting the sharp contradiction between the ideology in the embryonic period of capitalism and the end of feudal society. The ideology of the ruling class permeates into folk songs, and such creations are mainly popular in cities. Therefore, there are many unhealthy and pornographic works in this vast folk song minor, which reflect the empty and decadent thoughts and feelings of the ruling class and the decadent life in the folk song minor. Generally speaking, most of the works from rural areas that show the life of working people are healthy; However, works from cities and representing the citizens' class, because their social and economic status determines their ideology, are more receptive to the thoughts of the ruling class, so a considerable part of them are unhealthy and undesirable.
The small songs in the city are generally artistic songs based on folk songs, also known as "minor", "seasonal tune", "folk songs" and "miscellaneous songs". When singing with sanxian, pipa, sandalwood and other musical instruments, folk songs vary from place to place. Since the middle of the Ming Dynasty, there have been a lot of singles such as Goat, Drunk Peace, Parasitic Grass, and Luojiang Complain, which have been popular all over the country. By the end of the Ming Dynasty, there was a form of D singing, and some songs (brands) were linked together, which was called "brand songs". Therefore, a single brand song is split into two parts, with other brands inserted in the middle. Some people say that this may be a reference to the "transshipment peddler" of the Yuan Dynasty.
Although the tunes of folk songs in Ming and Qing dynasties were not recorded directly, they were indirectly preserved or used in a large number of operas, rap and song and dance music, some in folk instrumental music, and some even in religious music works, so they were widely circulated. Although these folk songs may be more or less adapted and developed in the long-term spread and application, they are still a very important part of the source of China folk music tunes.