Is there anyone who sings "ghost play" in Shangyu?

Shangyu folk percussion music has a long history. In the late patriarchal society, Yu Shun, the leader of the tribal alliance, came to Shangyu town to avoid the rebellion between his father and son Danzhu, so he was named after Shun. Shun and the princes will finish, because of mutual entertainment, so it is called Shangyu. The name "Shangyu" also came from this. Some tunes in Shangyu folk percussion music still have a long ancient rhyme, so it can't be said that they have not been subtly influenced by these ancient cultural and recreational activities. According to the Records of Shangyu County, as early as the Han Dynasty, Cao Xu, the father of the filial daughter Cao E, was able to "enjoy the festival, sing and dance". Every year, countless drummers and musicians show their talents on the Dragon Boat Festival. Over the years, the flat pottery bells unearthed in Shangyu in the Spring and Autumn Period, the urn of the Han and Six Dynasties and the figures piled up in the celadon barn of the Jin Dynasty show that those lifelike pottery figurines, some playing drums, some playing the piano, some playing the flute or pipa, and performing dances and acrobatics, undoubtedly laid a solid foundation for the development of folk percussion music in Shangyu. "Lights are everywhere, and music is everywhere." During the Southern Song Dynasty, as Liao and Jin occupied the north, the Song family was forced to cross south, making Hangzhou the capital of the imperial court at that time, and also making the economy and culture of eastern Zhejiang develop rapidly at that time. Folk instrumental music thrives with singing. The prosperity of singing also promoted the development of instrumental music. Famous poets in the Northern Song Dynasty include Su Dongpo, Zhou Bangyan, Zhang Xian, Liu Yong and Zhang Yan. , have written a lot of lyrics and songs for the performance and creation of national instrumental music. As a result, Shangyu folk percussion music flourished, and many tunes, such as Song of An Zi and Wu Wen Yuanmen, which have been handed down to this day, were formed at that time, regardless of form and mode. The Ming Dynasty was the heyday of the development of folk percussion music in Shangyu. According to the records of Shangyu County, during Jiajing period, many people played games with gods, advocated and performed zaju, which was extremely prosperous. The degree of "great prosperity" is that almost every village has opera classes (commonly known as "Fan Shi classes"), playing percussion and singing. Folk percussion groups should participate in weddings, funerals, celebrations and major festivals. There are many kinds and forms of folk percussion music in Shangyu, which can be basically divided into big percussion music, small percussion music and fine percussion music. Knocking is commonly known as "knocking on the shed", including dragon boat knocking and gauze boat knocking, both of which are dry dragon boats. A big bang song is long, so many songs or paragraphs are often selected according to the needs of playing time. There are five kinds of small gongs (Gong, Gong Dou, Gong Jing, Gong Zheng and Zhang Gong) and four kinds of big gongs (Gong, Gong Zheng, Wen Gong and Dong Gong). At the same time, wind instruments also include drums, broadboards, tambourines, drums, bells and cymbals. "Big knock shed" is generally composed of about 20 to 25 people. Knock at the beginning, catch the light, swim the cavity, adjust the dragon, fish in the water, etc. It is the main theme of percussion. Small knocking, also known as "back knocking", is characterized in that the gongs and drums of small knocking are hung on finely carved and beautifully decorated shelves, and the players knock on their backs. The repertoire of Xiao Kou is the same as Da Kou, but it has its own unique repertoire, such as A knot in one's heart, Shui Long Yin and Hua Er Singing. The music arrangement of percussion and percussion is different, the sound processing is simpler than percussion, and there are fewer players than percussion. The instruments commonly used for percussion are four blows and six beats, namely a pair of suona, a pair of recruiting gongs, a small hairpin, a golden cymbal, a big cymbal, a big gong and a second gong. The fine blowing and tapping in Shangyu is commonly known as "fanning", also known as "entering the palace" and "four blowing and four tapping". There is a Drum Tower Pavilion in the band, also known as Fan Shi Pavilion, or named as Xuan, such as Fan Shi Pavilion in Shiwan Village, Lianghu Town, which is nicknamed Shaocheng Xuan. The embroidered axis of Zhu Xuan in Shifan shed is exquisite and gorgeous, decorated with carved fences, pompoms and tassels, which not only increases the warm atmosphere, but also improves the aesthetic level of the audience. In the past, people usually attended major festivals such as welcoming God. For example, in Lihai Town, Buddha's "xianggong" birthday on September 12th of the lunar calendar, sometimes more than a dozen teams attended. The fine voice performers have a strong lineup and require high performance skills. Classification of soft-sounding instruments: percussion instruments include Bangu, Pinggu, Jinggu, Dagu, banjo, Muyu, Ten-Day Gong, Xiao Gong, Xiao Gong and Dajing cymbal, including suona, bamboo flute and Dong Xiao. String instruments include banhu, erhu, huzhong and xiaohu. The plucked instruments are pipa, Qin Yue, three strings, etc. In the long-term gestation and development process, Shangyu folk percussion music pays great attention to absorbing and accommodating foreign excellent cultures. Especially since the Ming and Qing Dynasties, with the prosperity of traditional operas, Kunqu Opera, Huiban Opera, Luantan Opera, Tanquan Opera and Quyi Rap have been widely performed in urban and rural areas, and many folk percussion musicians have exchanged and merged with traditional opera artists, which has promoted the development and perfection of percussion music. Master Wu Fasheng, a percussion band in Dongguan Street Village, is the fourth generation descendant of local Wu percussion music, playing quite professionally, especially the "Jingtouchang" gongs and drums learned from Huizhou class, which are exquisite, rough and exciting in rhythm. Tianqing Temple in Fenghui Town, Shangyu is the former residence of Wei Boyang, who was honored as "the immortal classics king" in the Eastern Han Dynasty. Wei Boyang is a master of Taoism, and his Book of Changes was praised as "the first Taoist work in the world" by Professor Joseph Needham of Cambridge University. Perhaps because of Wei Boyang's influence (lack of sufficient written evidence), Taoist music occupies a large proportion in Shangyu percussion music. 1983, in the process of collecting and sorting out folk music, many Taoist music scores were found all over the country. Finally, as many as 12 scores appeared in the Collection of Chinese Folk Music (Zhejiang Volume), which is the highest in the province. The performance of Taoist music is commonly known as "Daoban". In fact, they "don't fast, don't give out" and "are not vulgar". They mainly serve funerals and sacrifices, accept employment, recite scriptures, sing and play music, and sit and sing operas. In the long historical process, Shangyu folk percussion music has influenced and cultivated a large number of ancient and modern artists. Ji Kang, a writer, thinker and musician in the Three Kingdoms period, is famous for Guangling San. Guangling San is an epic musical work, with 4 1 sub-titles, such as Taking Korea, Rushing to the Crown, Fierce Woman, Making Famous, Throwing Sword, etc. The whole song shows Ji Kang's spirit of not being afraid of powerful people, being upright and upright, and vowing to fight against Sima Group at that time. In the early days of the founding of the People's Republic of China, Yu musicians, who were as famous as the blind people in southern Jiangsu, made indelible contributions to modern erhu playing techniques and erhu music creation in China. Tu Xianruo, a famous contemporary musician (from Nanpu Village), Lian Bo, a professor at Shanghai Conservatory of Music, Luo Ping, a composer of Shao Opera (from Luocun Village in Changtang), Jin Fuzai, a famous composer who wrote the theme song of The Journey to the West (from the street), and Zhang Baomo, a famous soprano of China Coal Mine Cultural and Art Troupe, have all been influenced by folk percussion music in their hometown and started to enter the art hall. Since the 1980s, the cultural authorities in Shangyu City have concentrated manpower, material resources and financial resources, organized special teams, visited and investigated 5 12 villages in the city, successively mastered the situation of more than 300 folk percussion bands, and excavated, rescued and arranged 42 pieces of folk instrumental music, 2 1 1 folk song and 12 folk dances. Among them,1kloc-0/folk instrumental music such as Yuanmen, Huaer Singing, Wandering Songs and Taideng 12 Taoist scores were compiled into China Folk Instrumental Music Integration respectively. In the general survey, the well-preserved "Fan Shi Hangpai" was found in Shiwan Village, Lianghu Town, and the back-knocking gongs and drums and drum stands after the Cultural Revolution were found in Shiwan Village, Haozhuang Village, Caoe Street and Yufeng Village, Songxia Town. The "Fan Shi Hangpai" in Shiwan Village was unanimously appreciated by experts in the 1992 Provincial Folk Art Exhibition and won the Folk Art Collection Award. 65438-0997 In order to further explore and promote the development of folk percussion art in Shangyu, the administrative department of publicity and culture in Shangyu also organized a large-scale folk art outing, and 22 township (street) folk percussion bands stopped and performed. In the same year, the municipal cultural authorities once again conducted a comprehensive survey and key investigation and registration of the current situation of folk percussion groups in the city, re-collected and sorted some traditional excellent tracks, and found a collection of folk instrumental music that had been lost for many years in the hometown of Lingnan. On the basis of traditional Qupai, the cultural department also organized relevant personnel to refine, process and create a large number of excellent tracks with local characteristics and strong flavor of the times, such as Knocking on Shangyu, Stagnation, Celebrating Harvest, Happy Cao 'e River, Xiao Chun in Jishan and so on. Drum music in the prosperous times, and a hundred flowers blossom. Shangyu folk percussion music is a precious wealth bred in the long history. With the continuous progress of society and the rapid development of economy, the people's urgent demand for cultural life and the rapid improvement of self-participation, folk percussion has become a popular form of cultural activities, and has been widely valued and passed down. 1999, Shangyu was successively named as the hometown of national folk art (percussion) and Zhejiang folk art (percussion). In recent years, 28 villages in the city have been named as Shaoxing villages with cultural characteristics, and in these 28 villages with cultural characteristics, almost every village has one or even several folk percussion bands. In 2000, in order to set a typical example, commend the advanced and make the folk percussion art by going up one flight of stairs, the cultural authorities also named 10 villages such as Yufeng Village in Songxia Town as folk art villages in the city. The city cultural center is cut into pieces to communicate with various folk percussion bands. In order to build a harmonious society and realize the strategic goal of "strengthening the city with culture" put forward by the municipal party Committee and the municipal government, folk percussion art should play its due role.