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From Backstage Accompaniment to Vocal Instrumentalization－The Practice on Erhu of the Aria “Boudoir Comes a Lady” in Hua-gu Opera

國立臺灣藝術大學 / 中國音樂學系 / Author：GUO, XIANG-WEI

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Hua-gu Xi has developed from the off-stage operetta as a popular local drama in Huaibei area, China. Drawing upon the linguistic analysis of local dialects, it is found that Hua-gu has originated from the Huaibei area including (the provinces/places). The Huaibei Hua-gu shared the same origin with Hua-gu-deng in the banks of the Huaihe River concerning the performing forms and contents. From the worship custom embodied by the Hua-gu performances, it could be traced back to the ancient Chinese worship form – NUO and has further complicatedly developed through times. Based on the research of dance steps, props, and the chorography of Fengyang, the study also concluded a point that the Huaibei Hua-gu took its form during the Song-Yuan period and was developed rapidly in Fengyang area in early Ming Dynasty.

Since the Suzhou Huaibei Hua-gu opera company was formed, the hua-gu opera has officially been independent from the hua-gu performance and been put onto the stage. Under the promotion of predecessor scholars and musicians like Yang chun, Wang Zuo-lun, the hu-gu opera accompaniments has been established by forms of San-Da-Jian (three main melodic instruments): two primary strings- erhu, soprano banhu, and pipa, of Wu-Da-Jing ( five melodic instruments): the former three plus zhonghu and Sanxian as, and of a complete accompaniments: the former five plus cello, suona and dizi.

Instrumental vocalization is an academic proposition which was officially proposed by Ming Hui-fen during the 90s of 20th. Through strict literature review, the study divided the process of Instrumental vocalization into three stages: instrumentation, transplantation, and integration. Based on the three steps, the study has practiced the vocalization process on the Boudoir Comes a Lady, one singing section in the traditional Hua-gu drama Wang K’an Chiao(Wang the Donkey-Driver), and it further analyzed this erhu version and concluded ways of interpretation.

The study is a first step towards relevant researches on the practice of instrumental vocalization and the cultural heritage of Hua-gu Opera, and the author will keep following up; it is expected to stimulate more future discussions.