Research on the Development of Yanjing in Fujian Taiwan Gezi Opera (Xiang Opera)
Gezi Opera is the only kind of opera that uses Yangqin as the accompaniment instrument in the social and cultural inheritance and reproduction of immigrants from Fujian and Taiwan. In terms of cultural communication, Gezi Opera and Xiangju Yangqin opera are regarded as sister flowers. Although they come down in one continuous line and share the same root, with the confrontation between the two sides in 1949 and the shift of regional time and space, they interrupted their exchanges and played an independent role in their respective development in the historical context and social structure. Yangqin is an indispensable musical instrument in Chinese national bands. The reason for its development is that the audience's preference and the position of dulcimer players in the theatrical troupe are the main keys. On the basis of previous studies, this study further uses the method of literature records to perspective the art anthropology, and contacts the oral history, photo and manual score of performers and musicians in folk troupes of the art of cross-strait Gezai Opera and dulcimer performance, so as to make the silent history a footnote to the history of cross-strait opera. Yangqin's wonderful performance in various occasions has deeply captured the hearts of the people through the rendering and reporting of the media. After the Meiji Restoration, it imitated Western musical instruments and improved them. The new Taiwan Music Research Association mainly demonstrated the westernized performance function of Chinese musical instruments and the effectiveness of the band. Dulcimer comes from the West and happens to replace the piano in the band. With a posture of embracing all rivers and integrating all directions, Gezai Opera absorbs skilled musicians from all parts of Taiwan and integrates tunes, operas, minor tunes and Ballads from Nanguan, Beiguan and other parties, thus enriching the music of Gezai Opera. According to the artistic experience of Yangqin musicians such as opera troupes, music clubs and pavilions, the author explains the role of Yangqin accompaniment in different periods of Gezi Opera Troupe.