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 In Song and Yuan dynasty when Southern Opera first came into existence in Wenzhou, it was performed in the local dialects. In the course of spreading, it absorbs different dialects and folk ditties along its way. So before the 16th century, there existed four tunes competing with each other. Among these four tunes (Haiyan Tune, Yuyao Tune, Yiyang Tune and Kunshan Tune), Zhejiang Province held two of them. Lu Rong of Ming Dynasty wrote in his book Miscellany in Beans Garden: During the latter half of 15th century, many people around Zhejiang Province, even those from the decent families, are pursuing the study of theatric performing. As it was a vogue to do the singing part in Zhejiang Province, the Haiyan Tune and Yuyao Tune won recognition here first.
    Haiyan Tune is named after its birthplace. There are two theories as to its origin: First, Li Rihua of Ming Dynasty thought Zhang Zi created it in Haiyan during the Southern Song Dynasty; Second, Yao Shoutong argued in his book Whisper in the Outskirt of Music that it was taught to the Za-Ju playwright Yang Zi by musician Guan Suanzhai, and in turn became famous through the performance of a boy singer at his house in Haiyan. Haiyan Tune emphasizes on continuous gestures and stretching singing without instrumental accompaniment. It is performed using the official language of Zhejiang and Jiangsu Province and on the red woolen blanket as the stage set in the hall of the house of those scholars and officials. At the time, it was quite influential around Jiaxing, Huzhou, Taizhou and Wenzhou.
    Yuyao Tune was also named after its birthplace. The feature was that instead of the musical accompaniment, it had human vocals to perform some tunes somewhere between singing and talking. The lyrics of the Rolling Tune (Gun Diao), as it was called, were vulgar and refined. The rhythm was clear and fast. So it was the tune of commons and its influence extended to Jiangsu and Anhui Province.
Yong Opera Wife In Pawn
 
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