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E-book Yuarn Music Dramas : Studies in Prosody and Structure and a Complete Catalogue of Northern Arias in the Dramatic Style

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Penilaian

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The term shie-tzyy was appropriated from the Chinese car-penter, to whom it denoted a small wedge-shaped cut of wood usedto fill a crack or cleavage in an article of furniture. With similarprecision, the Yuarn dramatist could always turn to the demi-actfor a flexible alternative to the simple four-act format of the stan-dard music drama. A careful count reveals that the demi-act wasspliced into the music drama 118 times, ^ 76 of which occurred atthe beginning of the music drama. Evidently, the demi-act servedas a convenient introduction to the drama for many playwrights.Like the suite (but unlike the prologue, interlude, and epi-logue), the demi-act is a self-contained unit and may fall betweenany of the four acts or at the beginning of the music drama, butnever after act 4 at the end.3 This rule is never broken, evenamong the handful of music dramas with five acts.4 The demi-actcontains dialogue, verse, and one of two arias in Sh mode, whichmay be repeated. The aria Shaang-hua-shyr, the favorite of thedemi-act, is preferred over Duan-jehng-haau nearly ninety percentof the time. 5 Although the singer in the demi-act may also be the singer in the suite that follows, the demi-act may maintain a rhymescheme independent of that in the subsequent act. The prologue, interlude, and epilogue—unlike the demi-act—are not independent units. 6 The prologue precedes the suite, theinterlude intrudes into the body of the suite, and the epilogue isappended to it after the coda.? Their placement is important, forwhile the prologue and epilogue are attached at the extremities, theinterlude penetrates the suite, and as the Chinese term cha-chyuu(the intrusive aria) implies, everything about it marks it as an in-trusion. The three units contain both dialogue and song (one songor several),** but the songs are foreign to the suite and sometimeseven foreign to the genre. Some are song verses (shiaau-lihng >J*/^ ), and others are southern style arias (narn-chyuu )$Q rjb ) .9They are easily identified because they are sung by role types whorarely sing under ordinary circumstances, like the waih 4\- , thejihnglp , the choou JL , or the char-dahn )f? Jg. . In addition,the singer is sometimes introduced by name only, which is itself un-usual because under normal conditions the singer is always identi-fied by role type, not by the name of the character he portrays inthe drama. Rhyme in the songs differs from that of the arias in thehost suite. These intrusions are by nature light in tone, providingbrief distractions from the drama. From all vantage points—thedramatis personae, the source of the arias, the rhyme, the themes,and the tone—these sections are clearly distinguishable as tempo-rary diversions from the formal suite, and were, no doubt, recog-nized by the audience as side episodes peripheral to the main threadof the plot.

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Ketersediaan

Informasi Detail

Judul Seri

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No. Panggil

902 JOH y

Penerbit

USA : The University of Michigan., 2020

Deskripsi Fisik

399 hlm

Bahasa

English

ISBN/ISSN

9780472901470

Klasifikasi

902

Tipe Isi

text

Tipe Media

computer

Tipe Pembawa

online resource

Edisi

-

Subjek

Miscellany of History

Info Detail Spesifik

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Pernyataan Tanggungjawab

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Versi lain/terkait

Lampiran Berkas

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