Figure ①: stills of Beijing Opera Li Dazhao. Figure ②: stills of Beijing Opera "daughter of the party". Figure ③: Zhu Shaoyu (left) and shangchangrong, a Peking opera performing artist, sang during the creation of "return to the world". The pictures are provided by Zhu Shaoyu Core reading Every opera musician needs to explore how to integrate all kinds of musical elements, how to give consideration to the diversified methods of moistening the tune of actors, how to harmonize the relationship between instrumental music and vocal music, and how to meet the audience's aesthetic appreciation of keeping pace with the times. Aesthetics includes not only the cognition of art, but also the judgment of social development and the spirit of the times. Innovation first points out which are advanced, which are backward, which are what the audience likes and which are what the audience dislikes. In the history of Chinese opera, new means of expression have been enriched into the art of opera in every era. Opera has been able to maintain its vigorous vitality, which is closely related to its music's ability to constantly maintain integrity, innovate and adapt to the present. Every opera musician needs to explore how to integrate all kinds of musical elements, how to give consideration to the diversified methods of moistening the tune of actors, how to harmonize the relationship between instrumental music and vocal music, and how to meet the audience's aesthetic appreciation of keeping pace with the times. I have been engaged in opera creation for more than 50 years, and have created aria music for nearly 200 plays. I am well aware of the hardships of music creation behind a good play. In my whole life, I have only one pursuit, that is, to make my singing tunes loved by the common people and passed on for a long time. Create a familiar strangeness Breaking the rules in the drama paradigm The key to integrity and innovation is to figure out how to keep integrity and where to innovate. The new modern Beijing Opera Li Dazhao, which is on tour, is the one with the longest composition cycle. It has changed its manuscript for five years. The theme of Li Dazhao is suitable for the broad and grand epic narrative mode, and has the artistic characteristics of "epic Beijing Opera". After repeated consideration, we grafted and integrated the melody of the Internationale into the singing of Beijing opera. Everyone said that this was a stroke of genius. Why use the Internationale? The founding of the Communist Party of China is a groundbreaking event not only for China, but also for the world. The flexible use of the Internationale endows the whole play with spiritual temperament and sublimates the musical style of the play. The music creation of opera should be both bold and cautious. The lyrics of traditional operas have their own format, mostly seven character sentences and cross sentences, such as "there were three sages in the past", "I was originally a scattered person in WoLonggang", etc. In modern drama, there are many colloquial, very short words, only four or five words in a sentence, forcing me to think of many "musical tricks" to solve these problems. But in any case, we should not "break" the artistic noumenon of Beijing opera. We should let everyone hear the familiar singing of Beijing Opera and maximize the artistic charm of Beijing opera. The second scene of Li Dazhao shows a duet between Li Dazhao and Chen Duxiu sitting on a mule cart. I spent a lot of effort in my creation. In this aria, I used a "wide board" style "guide board" - "shake the reins, drive a light car, and whip loudly". This is a new banqiang mode, which not only absorbs the characteristics of the "rocking board" rhythm of tight and slow singing, but also gives a broad, stretching, sonorous and powerful singing melody on the basis of the flat beat, making it novel and unique, without losing the distinctive style of Beijing opera. After Li Dazhao was imprisoned, an important aria used the complete set of "anti Er Huang" aria, and joined the female voice accompaniment and duet, so that the Peking Opera veteran's aria and the female voice accompaniment formed a two part, the melody is melodious, gives people a sense of freshness, and appropriately shows Li Dazhao's mood. At the end of the play, Li Dazhao and Zhao Linglan, who were not in the same situation, appeared on the stage at the same time, singing in pairs across the air. Based on the "Erhuang original board", Kunqu opera was skillfully used in the second half of the aria. This singing and dancing form a strong contrast with the Peking Opera "Erhuang" tune, fully showing the spiritual power of their deep feelings and great beliefs. These places are bold and innovative, but they are carefully maintained in the drama paradigm. The singing design should be divided into levels and proportions. There should be something new in the old, and the rules should be broken. The melody of the Internationale and the traditional singing together create a familiar strangeness, which well matches the emotional changes of the audience. Cavity layout is the first premise "One play, one style" should give consideration to public aesthetics The development of drama includes the continuous improvement of singing. One kind of voice cavity declines and another takes its place, but it does not grow out of thin air without tradition. The current Peking Opera, including Han Opera, Anhui opera, Bangzi opera, Kunqu Opera and other tunes, has formed a relatively unified artistic style after long-term integration. For the composition of drama, the layout of vocal cavity is the first premise. Like the "four beams and eight columns" of architecture, the music rhythm outlines the outline of emotional and emotional externalization for the whole play. We spend a lot of energy on the new play. What form does the composer innovate in, which can make the old fans addicted and the young audience accepted in the limited number of scenes? In this high-tech and fast-paced era, how can ancient art be sung by people? These are all challenges we need to meet. From "Red Cliff", "return to the heart of the world", "big house gate", to "Langya Mountain", "Xialu city", "Song sisters", "daughter of the party"... I composed music for so many plays, and only twoorthree singers can be remembered by everyone. This fully shows that the singing of opera needs to be tested by the audience. Why can the theme song of TV series be spread? One reason is repetition. For example, "hero song", because the TV series "outlaws of the marsh" became popular, after watching dozens of episodes, the song was also listened to dozens of times, and the melody naturally entered my heart. In 1994, when I was writing the Peking Opera "the lament of the king of summer", I used a technique that ran through the whole opera. I learned from the stanzas, changed words without changing music, and the tunes appeared repeatedly in the play, leaving a deep impression on the audience. The Peking Opera "the daughter of the party" is adapted from the opera of the same name and retains the wonderful lyrics of the opera. Yan Su's lyrics are as easy to understand and catchy as prose poetry. If only using traditional voice, they will appear old-fashioned. Therefore, I once again tried a technique that runs through the whole play. "The daughter of the party" creates the opening song with the tune of "Alas" with strong regional characteristics in the folk songs of the old revolutionary base area of Jiangxi Province as the theme melody. It uses the Beijing Hu "Sanban" to introduce the solo "little azalea (alas), flowers bloom all over the Cliff (LE)", and then the "little azalea, silently spit out its youth, the wind and rain can't suppress, and the fragrance sends to the end of the world" combines the Peking Opera four flat tones with the melody of folk songs, which is fresh and simple. The tune of "Alas" changes throughout the chorus and chorus. And the seventh uncle sang "sister Juan, don't cry, Grandpa wipe your tears... Sister Juan, don't cry, Grandpa hopes you will grow up soon". Although it was "the original board of two yellows", it drew lessons from the form of stanzas to form repetition. Opera music must be innovated, and it is impossible to simply apply the old formula. The cultivation and aesthetics of the composer are very important. Music innovation can introduce a variety of music elements. Composers must go deep into life and accumulate materials, just like building a pyramid. They must accumulate content as broad and solid as the tower base, so as to find a little essence suitable for innovation at the top of the tower. Music innovation should also pay attention to public aesthetics. Aesthetics includes not only the cognition of art, but also the judgment of social development and the spirit of the times. Innovation first points out which are advanced, which are backward, which are what the audience likes and which are what the audience dislikes. Opera music talents are especially critical We should not only be "strict", but also "southern accent and northern accent" Music talents are especially critical to the inheritance of opera. There are more than 300 kinds of operas in China. The first difference lies in singing. No drama, no matter how good the book and workmanship, can be attractive without a popular aria. However, composers are easily overlooked. The yuan, Ming and Qing Dynasties left behind the names of dramatists such as Wang Shifu, Guan Hanqing, Ma Zhiyuan, Bai Pu, Tang Xianzu, and Kong Shangren, but there are not many musicians who create vocal tunes. In the past hundred years, a large number of musical talents have invested in the creation of opera music, but few are widely known. Compared with actors, screenwriters and directors, opera musicians should receive more attention. Opera music came from folk songs and rap, so it directly copied "Gong Diao" and "sets". The emergence of banqiang broke the framework of the combination of Qupai and established a new dramatic music system, "performing stories with songs and Dances", and further dramatized. Today's opera music still has a lot of room for development. Composers are taking the initiative to transplant more composing techniques into opera music. The independent writing of opening song, interlude and closing song makes the music of the play rich in levels. Singing forms rarely seen in traditional operas, such as solo, duet, ensemble, and backup, provide more ways for the emotional expression of opera characters. Music development techniques such as theme song penetration and one song multi-purpose have strengthened the integrity of the repertory music. In particular, the combination of bands makes the instrumental part of opera music have the performance functions of creating an environment, promoting the plot, and setting off the atmosphere. However, these are still preliminary efforts and are still under development and exploration. We should not only firmly develop, but also prudently overcome blindness; We should not only be "strict", but also "southern accent and northern accent". As an opera musician, only by starting from the script intention of each work, not only retain the original rhythm of Peking opera aria, but also consciously excavate and search for the characteristics and highlights of the work according to the specific environment and unique emotions of the characters, and thus endow each opera with a richer musical language, can he create works with both high taste and elegance. (outlook new era)