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User:Weng Lanlin

2025-12-31T10:43:51Z

Weng Lanlin:

Weng Lanlin is a Master's student in English Translation at Hunan Normal University. Her student ID is 202570081712. She previously graduated from Fujian Agriculture and Forestry University. In her Chinese Language and Culture course, she has chosen to explore the "Cha Bai Xi" as her research topic, delving into its historical significance and social implications.

==Final Exam Paper==

===Nanyin Music===

====Introduction====
Nanyin, also known as Nan Qu, Nan Yue, Nan Guan, and Xian Guan, is an ancient musical genre originating from the Quanzhou region of Fujian Province. Performed in the southern fujian dialect, it boasts a history spanning over a thousand years. Nanyin is primarily popular in the three cities of Xiamen, Zhangzhou, and Quanzhou in southern Fujian, along with their respective counties. The musical system of Nanyin preserves traditional ancient folk singing techniques dating back to before the Tang Dynasty, while integrating the local musical characteristics of southern Fujian. It embodies the linguistic, cultural, and aesthetic traits of the Minnan region. Combining both vocal and instrumental elements, it stands as one of China’s oldest surviving musical genres and is hailed as a “living fossil of ancient Chinese music.”

====Origin and Historical Development====

There are no explicit records in historical documents regarding the origins of Nanyin. Numerous folk theories exist: 1) Nanyin emerged from the integration of Tang Dynasty court music with local folk music of southern Fujian; 2) Nanyin was brought to Fujian by the brothers Wang Chao and Wang Shenzhi. Later, through scholarly research, it is generally accepted that Nanyin was formed around the Song Dynasty. During the Song and Yuan dynasties, Quanzhou served as a pivotal hub for international exchange. Merchants and envoys from China and abroad converged here, fostering the communication of Indian, Southeast Asian, and Arab cultures. This open and inclusive social atmosphere not only preserved the local traditions of ritual music but also infused them with foreign cultural elements. Consequently, Nanyin evolved into a unique musical system that harmoniously blended classical heritage with regional characteristics while maintaining its orthodoxy.

Nanyin shares certain roots with music from the Tang Dynasty and earlier periods. It preserves many songs or qupaiming with identical names to those from the Tang Dynasty and earlier periods, such as Liangzhou Song, Ziye Song, and Autumn in the Han Palace Song. Nanyin had already taken shape by the Ming Dynasty. Woodblock-printed editions from the Ming Dynasty published a total of 259 Nanyin melodies, along with the Nanyin Collection and numerous Nanyin troupes of varying sizes. During the Qing Dynasty, Nanyin experienced further development, producing various works with diverse themes. Its repertoire extended beyond traditional subjects like love and family harmony to include pieces satirizing social institutions. It can be said that in the Qing Dynasty, households throughout southern Fujian performed Nanyin music, creating an unprecedented cultural flourishing.

During the Republic of China era, the “Nan Yue Research Society” emerged to teach Nanyin and also created works promoting resistance against Japanese aggression. After the founding of the People’s Republic of China, Nanyin gradually gained attention from the government and cultural departments. The establishment of research societies, training programs, and performance events breathed new life and vitality into this art form. In 2009, Nanyin was officially inscribed on the Representative List of the Intangible Cultural Heritage of Humanity, successfully transitioning from folk music societies to the international stage.

Deeply rooted in the daily life and folk beliefs of southern Fujian region, Nanyin’s transmission has maintained its artistic integrity through dynastic changes and periods of war and turmoil. Continuously passed down to the present day, it has become a cultural treasure cherished locally, nationally, and even globally.

====Artistic Characteristics and Main Types====
Nanyin consists of three major components: the “Dapu”, “Scattered Melodies or Sanqu”, and “Zhitao,” commonly referred to as “Pu,” “Qu,” and “Zhi.” These three musical forms encompass both vocal and instrumental pieces, featuring rich content and a complete system.

“Zhi” refers to a suite of pieces featuring lyrics, music scores, and pipa accompaniment, drawing inspiration from historical romances and tales of loyalty and filial piety. Typically performed as instrumental music, it is rarely adapted for vocal renditions.
“Pu” denotes purely instrumental compositions. “Dapu” includes titles, music scores, and pipa accompaniment, with each performance generally lasting ten to twelve minutes. Representative works include Four Seasons, Plum Blossom Exercise, Eight Steeds, and Hundred Birds Return to Nest.

“Qu”, the most numerous form compared to “Zhi” and “Pu,” are vocal pieces featuring both music scores and lyrics. The contents include lyrical, narrative, and descriptive themes, making them the most common form in Nanyin performances.

====Instruments and Performance Manners====
The instruments used in Nanyin performances include the pipa (a four-stringed lute), dongxiao (a vertical bamboo flute), erxian (a two-stringed fiddle), sanxian (a three-stringed fiddle), and clappers. Among these, the pipa employs the Tang Dynasty-style curved-neck design which can be called Qu Xiang Lute, and is played while held horizontally; the dongxiao follows the Tang Dynasty’s “shakuhachi” tradition and serves as the primary melodic instrument.

The primary performance manners of Nanyin are divided into “stringed and woodwind ensemble” and “percussion ensemble”—they can also be called Shàngsìguǎn and Xiàsìguǎn respectively in pinyin, commonly known as “Five Notes” or “Ten Notes.” Performers typically adopt a seated posture. During indoor performances, musicians sit in a plum blossom or arc formation, with the singer (holding the clapper) positioned centrally to embody Confucian principles. For outdoor performances, after one singer completes the verse, one reverently passes the clapper to the next performer, who continues the sequence song by song, concluding with the Dapu.

====Performance Characteristics====
All formal Nanyin performances are sung exclusively in minnan dialect, with tones and finals retaining Middle Chinese features, endowing the music with a strong regional character. Following ancient tradition, performances begin with the instrumental prelude “Zhi,” proceed to the “Qu” vocal section, and conclude with the “Pu” instrumental finale. The singing of Nanyin are elegant with classic simplicity, performed at a leisurely pace to create a subtle and profound musical atmosphere. Serving both social and ritual functions, Nanyin is primarily performed during ancestral worship, temple fairs, weddings, funerals, and other occasions, forming an important pillar of spiritual life for the people of Southern Fujian.

====Representative Repertoire====
The lyrics of Nanyin primarily draw from the tales of Tang Legends, Storytelling Scripts, and character stories of dramas in the Song, Yuan and Ming dynasties, focusing on descriptions of natural landscapes and expressions of inner emotions. Representative works include The Steep Mountain, Leaving the Hanguan, Breaking the Pledge with You, and Cai Wenji Returns to Han.

====Contemporary Inheritance and Development====
The primary inheritors of Nanyin are mostly seniors over sixty. Though highly skilled, their physical strength and energy cannot sustain the demands of daily training and stage performances. Moreover, with the rapid development of contemporary society and economy, young people’s aesthetic preferences have shifted, increasingly favoring popular music. The preservation and development of Nanyin are now urgent.

To ensure its continuity, the Quanzhou Municipal Government launched an action plan in 2004 to protect and revitalize Nanyin. This initiative involves the Bureau of Culture, academy of arts, and research societies in direct preservation efforts. Various measures are now underway to promote this ancient art form, including establishing teaching institutions, organizing performances and competitions, and documenting the music through recordings and archives.

Today, beyond Quanzhou, Zhangzhou, Xiamen, and the regions of Hong Kong, Macao, and Taiwan, Nanyin has spread to Southeast Asian countries like Singapore, the Philippines, Malaysia, and Thailand. It has become a spiritual bond connecting Chinese people both domestically and abroad, playing a positive role in enhancing national identity.

At present, Nanyin must explore a new positioning within modern society. While upholding its traditional essence, it must also embrace contemporary changes, building bridges through approaches that resonate with younger generations. This will encourage them to actively engage with traditional culture and experience its enduring appeal.

===References===
1. WangYaohua王耀华. (2008). 中国南音的保护与传承 [The Preservation and Transmission of Chinese Nanyin]. 福建艺术[Fujian Arts], (01), 5-11.

2. CNR News央广网. (2025). 知否·年味｜聆听新年中的千年旋律——泉州南音 [The Flavor of the New Year: Listening to the Millennia-Old Melodies of the New Year—Quanzhou Nanyin]. https://news.cnr.cn/local/dftj/20250202/t20250202_527059413.shtml.

3. Baidu Baike 百度百科. 南音[Nanyin] [EB/OL].

4. 中国非物质文化遗产网·中国非物质文化遗产数字博物馆 [China National Intangible Cultural Heritage Website: China National Intangible Cultural Heritage Museum]. 南音 [Nanyin] [EB/OL]. https://www.ihchina.cn/directory_details/11814.

5. XieYuanyuan谢媛媛, Lin Xiaowen林小闻, Hu Xing胡星. (2025). 活态传承广域传播——以泉州南音文化为例 [Living Heritage, Wide-Reaching Transmission: The Case of Quanzhou Nanyin Culture]. 黑河学院学报 [Journal of Heihe University], 16 (12), 119-122.

6. Wang Yueyang王悦阳. (2021). 南音传唱:唐宋大曲,当今之音 [The Echoes of Nanyin: Tang and Song Dynasty Melodies, Sounds of Today]. 新民周刊 [Xinmin Weekly], (29), 58-63.

===Terms===
Nanyin 南音

Nan Qu 南曲

Nan Yue 南乐

Nan Guan 南管

songs or qupaiming 曲牌名

Zhi/ Zhitao 指；指套

Pu/ Dapu 谱；大谱

Qu/ Sanqu or Scattered Melodies 曲；散曲

the pipa (a four-stringed lute) 琵琶

dongxiao (a vertical bamboo flute) 洞箫

erxian (a two-stringed fiddle) 二弦

sanxian (a three-stringed fiddle) 三弦

clappers 拍板

Qu Xiang Lute 曲项琵琶

Five Notes 五音

minnan dialect; southern fujian dialect 闽南方言

finals 韵母

===Questions===
1. When did Nanyin music roughly emerge historically?

2. Briefly describe the main differences between Nanyin’s three core components: “Zhi”, “Pu” and “Qu”.

3. What are the historical origins of Nanyin instruments such as the pipa and dongxiao?

4. What are the performance characteristics of Nanyin?

5. What efforts has the government made to preserve and develop Nanyin?

===Answers===
1. According to scholarly research, Nanyin was matured around the Song Dynasty.

2. “Zhi” refers to a suite of pieces with lyrics, music scores, and pipa accompaniment, typically performed as instrumental music rather than vocal compositions. “Pu” refers purely instrumental pieces with titles, intended for performance. “Qu” are vocal pieces featuring both music scores and lyrics, covering diverse themes and existing in large numbers.

3. The pipa used in Nanyin follows the Tang Dynasty design of the Qu Xiang Lute, and is played while held horizontally; the dongxiao retains the Tang Dynasty’s “shakuhachi” form.

4. All Nanyin performances are sung in the minnan dialect. Following ancient tradition, the performance begins with “Zhi”, followed by the singing of “qu”, and concludes with the performance of the “Pu”.

5. The Quanzhou Municipal Government’s efforts to preserve and develop Nanyin include: formulating an action plan for the protection and revitalization of Nanyin in 2004; organizing the participation of institutions such as the Bureau of Culture, academy of arts, and research societies; and implementing measures including establishing schools for teaching Nanyin, organizing performances and competitions, and recording and archiving the music.

==期末考试==

===南音===

====总体介绍====

南音，又称“南曲”、“南乐”、“南管”、“弦管”，是发源于福建泉州地区，以闽南方言演唱，具有千年历史的古老乐种。南音主要流行于福建南部的厦门、漳州、泉州三市及所属各县城。南音的音乐体系保留了唐代以前传统古老的民族唱法，并融合了闽南本地的音乐特色，体现了闽南地区的语言、文化、审美特点。它集唱、奏于一体，是中国现存最古老的乐种之一，被誉为“中国古代音乐的活化石”。

====历史起源与发展====

文献资料并没有关于南音起源的明确记载。民间说法众多：1）南音是唐代宫廷音乐与闽南当地民间音乐的融合；2）南音是王潮、王审知兄弟带来福建的。后来经过专家学者的考证，一般认为南音大约形成于宋代。泉州是宋元时期对外交流的枢纽，中外商旅、使节汇聚于此，印度、东南亚及阿拉伯文化在此交流碰撞，这种开放包容的社会氛围，非但没有冲淡当地的礼乐传统，反为其注入外来文化因素，使南音在坚守正统的同时，吸纳外来元素，形成了兼具古典与地方特色的独特音乐体系。

南音与唐代及唐以前的音乐有一定的渊源。南音中保留了许多与唐朝及唐以前同名的曲牌，如《梁州曲》、《子夜歌》、《汉宫秋》等。南音在明代已成型。明代有关于南音的木刻刊本，共刊了259首南音曲，更有《南音曲集》和大大小小的南音班社。清代，南音得到进一步发展，作品众多且题材丰富。南音曲目的题材不只是关于爱情、家庭和睦等传统主题，更有讽刺社会制度的曲目。可以说，在清代，闽南一带千家万户皆会演奏丝竹管弦，盛况空前。

民国时期也出现了传授南音技艺的“南乐研究会”，也创作了宣传抗日的作品。新中国成立后，南音逐渐受到政府和文化部门的重视，成立研究社、开办培训班、举办演唱活动等，使南音焕发出新的生机与活力。2009年，南音正式列入人类非物质文化遗产代表作名录，成功从民间乐社走向了国际舞台。

南音的传承深深植根于闽南社会的日常生活和民俗信仰，使其在王朝更迭和战争动荡的环境中仍能维系艺术完整性，并不断地传承至今，成为当地、国家甚至世界性的文化瑰宝。

====艺术特征与主要类型====

南音由“大谱”、“散曲”和“指套”三大部分组成，一般俗称为“指”“谱”“曲”。这三大乐曲既有用于演唱的，也有用于演奏的，内容丰富，体系完整。

“指”，即“指套”，是一种有词、谱、琵琶弹奏的套曲，取材于历史演义和忠孝故事。通常只用于器乐演奏，少用于声乐演唱。原有三十六套，后来发展至五十套。

“谱”，即“大谱”，为纯器乐曲。“大谱”有标题、曲谱和琵琶弹奏，每套谱一般演奏十至十二分钟左右。大谱原有十二套，后发展至十六套，代表性作品有《四时景》《梅花操》《八骏马》《百鸟归巢》。

“曲”，即“散曲”，与“指”“谱”相比，数量最为庞大，是带有演唱的曲子，有谱、有词。一般由歌唱者执拍板坐唱，也可手抱琵琶自弹自唱，内容涵盖抒情、叙事、写景等，是南音表演中最常见的形式。

====乐器与演奏形式====
南音的演奏乐器包括琵琶、洞箫、二弦、三弦和拍板。其中，琵琶采用唐代形制的曲项琵琶，需横抱演奏；洞箫沿用唐代的“尺八”遗制，是主要的旋律乐器。

南音的主要演奏形式分为“上四管”和“下四管”，俗称“五音”或“十音”，通常演奏者需采用坐奏的方式。室内演奏时，演奏者以“梅花形”或弧形围坐，演唱者（执拍板者）居中演唱，体现了儒家精神；室外演奏时，一位演唱者唱完需把拍板恭敬地递给第二个人，逐首接连地唱下去，最后是奏大谱结束。

====演唱特色====
南音的正规演唱一律以闽南方言演唱，声调韵母保留中古汉语特征，赋予了音乐强烈的地方特色。依照古例，演唱必先吹奏“指套”，再唱“散曲”，最后以奏“大谱”结束。南音唱腔古朴典雅，演唱速度舒缓，营造出含蓄、深邃的音乐意境。南音兼具社交和信仰功能，主要在祭祖、庙会、婚丧等场合演唱，是闽南人重要的精神支柱。

====代表性曲目====
南音曲词的内容主要取材于唐传奇、话本和宋元及明代戏剧的人物故事，以描写自然景观和抒发内心情感为主。代表作品有《山险峻》《出汉关》《共君断约》《文姬归汉》等。

====当代传承与发展====
南音的一线传承人多为六十岁以上的老人，虽技艺精湛，但体力和精力并不能支撑他们经历日夜训练和登台演出；而且，因当代社会和经济的飞速发展，年轻人审美转变，更加追求音乐的流行性。南音的传承与发展迫在眉睫。

为了南音的传承和持续发展，泉州市政府已于2004年制定了保护与振兴南音的行动计划，组织文化局、艺术学院、研究社等直接参与保护和传承南音的工作。目前，已采取各种措施来推广这种古老的艺术形式，如建立教授南音的学校、组织演出和比赛，并对音乐进行录制和存档。

现今，除了在泉州、漳州、厦门及其港澳台地区外，南音还传播到了新加坡、菲律宾、马来西亚、泰国等东南亚国家，成为维系国内国外中国人民的精神纽带，对增进民族认同感也起到了积极作用。

当下，南音需要在现代社会中探索新的定位，既坚守传统精髓，也需要拥抱时代变化，用年轻人喜欢的方式搭起桥梁，让他们主动靠近传统文化，感受文化的魅力。

===参考文献===
1. 王耀华. (2008). 中国南音的保护与传承. 福建艺术, (01), 5-11.

2. 央广网. (2025). 知否·年味｜聆听新年中的千年旋律——泉州南音. https://news.cnr.cn/local/dftj/20250202/t20250202_527059413.shtml.

3. 百度百科. 南音[EB/OL].

4. 中国非物质文化遗产网·中国非物质文化遗产数字博物馆. 南音 [EB/OL]. https://www.ihchina.cn/directory_details/11814.

5. 谢媛媛,林小闻,胡星. (2025). 活态传承广域传播——以泉州南音文化为例. 黑河学院学报, 16 (12), 119-122.

6. 王悦阳. (2021). 南音传唱:唐宋大曲,当今之音. 新民周刊, (29), 58-63.

===术语===
南音 Nanyin

南曲 Nan Qu

南乐 Nan Yue

南管 Nan Guan

曲牌名 songs or qupaiming

指；指套 Zhi/ Zhitao

谱；大谱 Pu/ Dapu

曲；散曲 Qu/ Sanqu or Scattered Melodies

琵琶 the pipa (a four-stringed lute)

洞箫 dongxiao (a vertical bamboo flute)

二弦 erxian (a two-stringed fiddle)

三弦 sanxian (a three-stringed fiddle)

拍板 clappers

曲项琵琶 Qu Xiang Lute

五音 Five Notes

闽南方言 minnan dialect; southern fujian dialect

韵母 finals

===问题===
1. 南音大约形成于哪个历史时期？

2. 请简述南音“指”、“谱”、“曲”三大组成部分的主要区别。

3. 南音的乐器（如琵琶、洞箫）在形制上有何历史渊源？

4. 南音的演唱特色是什么样的？

5. 政府为保护和传承南音做了哪些努力？

===答案===
1. 经专家学者的仔细考证，南音大约形成于宋代。

2.“指”是一种有词、谱、琵琶弹奏的套曲，通常只用于器乐演奏，较少用于演唱。“谱”为纯器乐曲，有标题，用于演奏。“曲”是带演唱的曲子，有谱、有词，内容题材丰富，数量众多。

3. 南音使用的琵琶为唐代形制的曲项琵琶，需横抱演奏；洞箫则沿用了唐代的“尺八”遗制。

4. 南音一律以闽南方言演唱。依照古例，必先吹奏“指套”，再唱“散曲”，最后以奏“大谱”结束。

5. 泉州市政府为保护和发展南音所做的努力包括：2004 年制定南音保护与振兴行动计划；组织文化局、艺术学院和研究社等机构参与；实施的措施包括开办南音教学学校、组织演出和比赛以及录制和存档音乐。

User:Weng Lanlin

2025-12-31T10:36:28Z

Weng Lanlin:

Weng Lanlin is a Master's student in English Translation at Hunan Normal University. Her student ID is 202570081712. She previously graduated from Fujian Agriculture and Forestry University. In her Chinese Language and Culture course, she has chosen to explore the "Cha Bai Xi" as her research topic, delving into its historical significance and social implications.

==Final Exam Paper==

===Nanyin Music===

====Introduction====
Nanyin, also known as Nan Qu, Nan Yue, Nan Guan, and Xian Guan, is an ancient musical genre originating from the Quanzhou region of Fujian Province. Performed in the southern fujian dialect, it boasts a history spanning over a thousand years. Nanyin is primarily popular in the three cities of Xiamen, Zhangzhou, and Quanzhou in southern Fujian, along with their respective counties. The musical system of Nanyin preserves traditional ancient folk singing techniques dating back to before the Tang Dynasty, while integrating the local musical characteristics of southern Fujian. It embodies the linguistic, cultural, and aesthetic traits of the Minnan region. Combining both vocal and instrumental elements, it stands as one of China’s oldest surviving musical genres and is hailed as a “living fossil of ancient Chinese music.”

====Origin and Historical Development====

There are no explicit records in historical documents regarding the origins of Nanyin. Numerous folk theories exist: 1) Nanyin emerged from the integration of Tang Dynasty court music with local folk music of southern Fujian; 2) Nanyin was brought to Fujian by the brothers Wang Chao and Wang Shenzhi. Later, through scholarly research, it is generally accepted that Nanyin was formed around the Song Dynasty. During the Song and Yuan dynasties, Quanzhou served as a pivotal hub for international exchange. Merchants and envoys from China and abroad converged here, fostering the communication of Indian, Southeast Asian, and Arab cultures. This open and inclusive social atmosphere not only preserved the local traditions of ritual music but also infused them with foreign cultural elements. Consequently, Nanyin evolved into a unique musical system that harmoniously blended classical heritage with regional characteristics while maintaining its orthodoxy.

Nanyin shares certain roots with music from the Tang Dynasty and earlier periods. It preserves many songs or qupaiming with identical names to those from the Tang Dynasty and earlier periods, such as Liangzhou Song, Ziye Song, and Autumn in the Han Palace Song. Nanyin had already taken shape by the Ming Dynasty. Woodblock-printed editions from the Ming Dynasty published a total of 259 Nanyin melodies, along with the Nanyin Collection and numerous Nanyin troupes of varying sizes. During the Qing Dynasty, Nanyin experienced further development, producing various works with diverse themes. Its repertoire extended beyond traditional subjects like love and family harmony to include pieces satirizing social institutions. It can be said that in the Qing Dynasty, households throughout southern Fujian performed Nanyin music, creating an unprecedented cultural flourishing.

During the Republic of China era, the “Nan Yue Research Society” emerged to teach Nanyin and also created works promoting resistance against Japanese aggression. After the founding of the People’s Republic of China, Nanyin gradually gained attention from the government and cultural departments. The establishment of research societies, training programs, and performance events breathed new life and vitality into this art form. In 2009, Nanyin was officially inscribed on the Representative List of the Intangible Cultural Heritage of Humanity, successfully transitioning from folk music societies to the international stage.

Deeply rooted in the daily life and folk beliefs of southern Fujian region, Nanyin’s transmission has maintained its artistic integrity through dynastic changes and periods of war and turmoil. Continuously passed down to the present day, it has become a cultural treasure cherished locally, nationally, and even globally.

====Artistic Characteristics and Main Types====
Nanyin consists of three major components: the “Dapu”, “Scattered Melodies or Sanqu”, and “Zhitao,” commonly referred to as “Pu,” “Qu,” and “Zhi.” These three musical forms encompass both vocal and instrumental pieces, featuring rich content and a complete system.

“Zhi” refers to a suite of pieces featuring lyrics, music scores, and pipa accompaniment, drawing inspiration from historical romances and tales of loyalty and filial piety. Typically performed as instrumental music, it is rarely adapted for vocal renditions.
“Pu” denotes purely instrumental compositions. “Dapu” includes titles, music scores, and pipa accompaniment, with each performance generally lasting ten to twelve minutes. Representative works include Four Seasons, Plum Blossom Exercise, Eight Steeds, and Hundred Birds Return to Nest.

“Qu”, the most numerous form compared to “Zhi” and “Pu,” are vocal pieces featuring both music scores and lyrics. The contents include lyrical, narrative, and descriptive themes, making them the most common form in Nanyin performances.

====Instruments and Performance Manners====
The instruments used in Nanyin performances include the pipa (a four-stringed lute), dongxiao (a vertical bamboo flute), erxian (a two-stringed fiddle), sanxian (a three-stringed fiddle), and clappers. Among these, the pipa employs the Tang Dynasty-style curved-neck design which can be called Qu Xiang Lute, and is played while held horizontally; the dongxiao follows the Tang Dynasty’s “shakuhachi” tradition and serves as the primary melodic instrument.

The primary performance manners of Nanyin are divided into “stringed and woodwind ensemble” and “percussion ensemble”—they can also be called Shàngsìguǎn and Xiàsìguǎn respectively in pinyin, commonly known as “Five Notes” or “Ten Notes.” Performers typically adopt a seated posture. During indoor performances, musicians sit in a plum blossom or arc formation, with the singer (holding the clapper) positioned centrally to embody Confucian principles. For outdoor performances, after one singer completes the verse, one reverently passes the clapper to the next performer, who continues the sequence song by song, concluding with the Dapu.

====Performance Characteristics====
All formal Nanyin performances are sung exclusively in minnan dialect, with tones and finals retaining Middle Chinese features, endowing the music with a strong regional character. Following ancient tradition, performances begin with the instrumental prelude “Zhi,” proceed to the “Qu” vocal section, and conclude with the “Pu” instrumental finale. The singing of Nanyin are elegant with classic simplicity, performed at a leisurely pace to create a subtle and profound musical atmosphere. Serving both social and ritual functions, Nanyin is primarily performed during ancestral worship, temple fairs, weddings, funerals, and other occasions, forming an important pillar of spiritual life for the people of Southern Fujian.

====Representative Repertoire====
The lyrics of Nanyin primarily draw from the tales of Tang Legends, Storytelling Scripts, and character stories of dramas in the Song, Yuan and Ming dynasties, focusing on descriptions of natural landscapes and expressions of inner emotions. Representative works include The Steep Mountain, Leaving the Hanguan, Breaking the Pledge with You, and Cai Wenji Returns to Han.

====Contemporary Inheritance and Development====
The primary inheritors of Nanyin are mostly seniors over sixty. Though highly skilled, their physical strength and energy cannot sustain the demands of daily training and stage performances. Moreover, with the rapid development of contemporary society and economy, young people’s aesthetic preferences have shifted, increasingly favoring popular music. The preservation and development of Nanyin are now urgent.

To ensure its continuity, the Quanzhou Municipal Government launched an action plan in 2004 to protect and revitalize Nanyin. This initiative involves the Bureau of Culture, academy of arts, and research societies in direct preservation efforts. Various measures are now underway to promote this ancient art form, including establishing teaching institutions, organizing performances and competitions, and documenting the music through recordings and archives.

Today, beyond Quanzhou, Zhangzhou, Xiamen, and the regions of Hong Kong, Macao, and Taiwan, Nanyin has spread to Southeast Asian countries like Singapore, the Philippines, Malaysia, and Thailand. It has become a spiritual bond connecting Chinese people both domestically and abroad, playing a positive role in enhancing national identity.

At present, Nanyin must explore a new positioning within modern society. While upholding its traditional essence, it must also embrace contemporary changes, building bridges through approaches that resonate with younger generations. This will encourage them to actively engage with traditional culture and experience its enduring appeal.

===References===
1. WangYaohua王耀华. (2008). 中国南音的保护与传承 [The Preservation and Transmission of Chinese Nanyin]. 福建艺术[Fujian Arts], (01), 5-11.

2. CNR News央广网. (2025). 知否·年味｜聆听新年中的千年旋律——泉州南音 [The Flavor of the New Year: Listening to the Millennia-Old Melodies of the New Year—Quanzhou Nanyin]. https://news.cnr.cn/local/dftj/20250202/t20250202_527059413.shtml.

3. Baidu Baike 百度百科. 南音[Nanyin] [EB/OL].

4. 中国非物质文化遗产网·中国非物质文化遗产数字博物馆 [China National Intangible Cultural Heritage Website: China National Intangible Cultural Heritage Museum]. 南音 [Nanyin] [EB/OL]. https://www.ihchina.cn/directory_details/11814.

5. XieYuanyuan谢媛媛, Lin Xiaowen林小闻, Hu Xing胡星. (2025). 活态传承广域传播——以泉州南音文化为例 [Living Heritage, Wide-Reaching Transmission: The Case of Quanzhou Nanyin Culture]. 黑河学院学报 [Journal of Heihe University], 16 (12), 119-122.

6. Wang Yueyang王悦阳. (2021). 南音传唱:唐宋大曲,当今之音 [The Echoes of Nanyin: Tang and Song Dynasty Melodies, Sounds of Today]. 新民周刊 [Xinmin Weekly], (29), 58-63.

===Terms===
Nanyin 南音

Nan Qu 南曲

Nan Yue 南乐

Nan Guan 南管

Xian Guan 弦管

songs or qupaiming 曲牌名

Zhi/ Zhitao 指；指套

Pu/ Dapu 谱；大谱

Qu/ Sanqu or Scattered Melodies 曲；散曲

the pipa (a four-stringed lute) 琵琶

dongxiao (a vertical bamboo flute) 洞箫

erxian (a two-stringed fiddle) 二弦

sanxian (a three-stringed fiddle) 三弦

clappers 拍板

Qu Xiang Lute 曲项琵琶

Five Notes 五音

minnan dialect; southern fujian dialect 闽南方言

finals 韵母

===Questions===
1. When did Nanyin music roughly emerge historically?

2. Briefly describe the main differences between Nanyin’s three core components: “Zhi”, “Pu” and “Qu”.

3. What are the historical origins of Nanyin instruments such as the pipa and dongxiao?

4. What are the performance characteristics of Nanyin?

5. What efforts has the government made to preserve and develop Nanyin?

===Answers===
1. According to scholarly research, Nanyin was matured around the Song Dynasty.

2. “Zhi” refers to a suite of pieces with lyrics, music scores, and pipa accompaniment, typically performed as instrumental music rather than vocal compositions. “Pu” refers purely instrumental pieces with titles, intended for performance. “Qu” are vocal pieces featuring both music scores and lyrics, covering diverse themes and existing in large numbers.

3. The pipa used in Nanyin follows the Tang Dynasty design of the Qu Xiang Lute, and is played while held horizontally; the dongxiao retains the Tang Dynasty’s “shakuhachi” form.

4. All Nanyin performances are sung in the minnan dialect. Following ancient tradition, the performance begins with “Zhi”, followed by the singing of “qu”, and concludes with the performance of the “Pu”.

5. The Quanzhou Municipal Government’s efforts to preserve and develop Nanyin include: formulating an action plan for the protection and revitalization of Nanyin in 2004; organizing the participation of institutions such as the Bureau of Culture, academy of arts, and research societies; and implementing measures including establishing schools for teaching Nanyin, organizing performances and competitions, and recording and archiving the music.

==期末考试==

===南音===

====总体介绍====

南音，又称“南曲”、“南乐”、“南管”、“弦管”，是发源于福建泉州地区，以闽南方言演唱，具有千年历史的古老乐种。南音主要流行于福建南部的厦门、漳州、泉州三市及所属各县城。南音的音乐体系保留了唐代以前传统古老的民族唱法，并融合了闽南本地的音乐特色，体现了闽南地区的语言、文化、审美特点。它集唱、奏于一体，是中国现存最古老的乐种之一，被誉为“中国古代音乐的活化石”。

====历史起源与发展====

文献资料并没有关于南音起源的明确记载。民间说法众多：1）南音是唐代宫廷音乐与闽南当地民间音乐的融合；2）南音是王潮、王审知兄弟带来福建的。后来经过专家学者的考证，一般认为南音大约形成于宋代。泉州是宋元时期对外交流的枢纽，中外商旅、使节汇聚于此，印度、东南亚及阿拉伯文化在此交流碰撞，这种开放包容的社会氛围，非但没有冲淡当地的礼乐传统，反为其注入外来文化因素，使南音在坚守正统的同时，吸纳外来元素，形成了兼具古典与地方特色的独特音乐体系。

南音与唐代及唐以前的音乐有一定的渊源。南音中保留了许多与唐朝及唐以前同名的曲牌，如《梁州曲》、《子夜歌》、《汉宫秋》等。南音在明代已成型。明代有关于南音的木刻刊本，共刊了259首南音曲，更有《南音曲集》和大大小小的南音班社。清代，南音得到进一步发展，作品众多且题材丰富。南音曲目的题材不只是关于爱情、家庭和睦等传统主题，更有讽刺社会制度的曲目。可以说，在清代，闽南一带千家万户皆会演奏丝竹管弦，盛况空前。

民国时期也出现了传授南音技艺的“南乐研究会”，也创作了宣传抗日的作品。新中国成立后，南音逐渐受到政府和文化部门的重视，成立研究社、开办培训班、举办演唱活动等，使南音焕发出新的生机与活力。2009年，南音正式列入人类非物质文化遗产代表作名录，成功从民间乐社走向了国际舞台。

南音的传承深深植根于闽南社会的日常生活和民俗信仰，使其在王朝更迭和战争动荡的环境中仍能维系艺术完整性，并不断地传承至今，成为当地、国家甚至世界性的文化瑰宝。

====艺术特征与主要类型====

南音由“大谱”、“散曲”和“指套”三大部分组成，一般俗称为“指”“谱”“曲”。这三大乐曲既有用于演唱的，也有用于演奏的，内容丰富，体系完整。

“指”，即“指套”，是一种有词、谱、琵琶弹奏的套曲，取材于历史演义和忠孝故事。通常只用于器乐演奏，少用于声乐演唱。原有三十六套，后来发展至五十套。

“谱”，即“大谱”，为纯器乐曲。“大谱”有标题、曲谱和琵琶弹奏，每套谱一般演奏十至十二分钟左右。大谱原有十二套，后发展至十六套，代表性作品有《四时景》《梅花操》《八骏马》《百鸟归巢》。

“曲”，即“散曲”，与“指”“谱”相比，数量最为庞大，是带有演唱的曲子，有谱、有词。一般由歌唱者执拍板坐唱，也可手抱琵琶自弹自唱，内容涵盖抒情、叙事、写景等，是南音表演中最常见的形式。

====乐器与演奏形式====
南音的演奏乐器包括琵琶、洞箫、二弦、三弦和拍板。其中，琵琶采用唐代形制的曲项琵琶，需横抱演奏；洞箫沿用唐代的“尺八”遗制，是主要的旋律乐器。

南音的主要演奏形式分为“上四管”和“下四管”，俗称“五音”或“十音”，通常演奏者需采用坐奏的方式。室内演奏时，演奏者以“梅花形”或弧形围坐，演唱者（执拍板者）居中演唱，体现了儒家精神；室外演奏时，一位演唱者唱完需把拍板恭敬地递给第二个人，逐首接连地唱下去，最后是奏大谱结束。

====演唱特色====
南音的正规演唱一律以闽南方言演唱，声调韵母保留中古汉语特征，赋予了音乐强烈的地方特色。依照古例，演唱必先吹奏“指套”，再唱“散曲”，最后以奏“大谱”结束。南音唱腔古朴典雅，演唱速度舒缓，营造出含蓄、深邃的音乐意境。南音兼具社交和信仰功能，主要在祭祖、庙会、婚丧等场合演唱，是闽南人重要的精神支柱。

====代表性曲目====
南音曲词的内容主要取材于唐传奇、话本和宋元及明代戏剧的人物故事，以描写自然景观和抒发内心情感为主。代表作品有《山险峻》《出汉关》《共君断约》《文姬归汉》等。

====当代传承与发展====
南音的一线传承人多为六十岁以上的老人，虽技艺精湛，但体力和精力并不能支撑他们经历日夜训练和登台演出；而且，因当代社会和经济的飞速发展，年轻人审美转变，更加追求音乐的流行性。南音的传承与发展迫在眉睫。

为了南音的传承和持续发展，泉州市政府已于2004年制定了保护与振兴南音的行动计划，组织文化局、艺术学院、研究社等直接参与保护和传承南音的工作。目前，已采取各种措施来推广这种古老的艺术形式，如建立教授南音的学校、组织演出和比赛，并对音乐进行录制和存档。

现今，除了在泉州、漳州、厦门及其港澳台地区外，南音还传播到了新加坡、菲律宾、马来西亚、泰国等东南亚国家，成为维系国内国外中国人民的精神纽带，对增进民族认同感也起到了积极作用。

当下，南音需要在现代社会中探索新的定位，既坚守传统精髓，也需要拥抱时代变化，用年轻人喜欢的方式搭起桥梁，让他们主动靠近传统文化，感受文化的魅力。

===问题===
1. 南音大约形成于哪个历史时期？

2. 请简述南音“指”、“谱”、“曲”三大组成部分的主要区别。

3. 南音的乐器（如琵琶、洞箫）在形制上有何历史渊源？

4. 南音的演唱特色是什么样的？

5. 政府为保护和传承南音做了哪些努力？

===答案===
1. 经专家学者的仔细考证，南音大约形成于宋代。

2.“指”是一种有词、谱、琵琶弹奏的套曲，通常只用于器乐演奏，较少用于演唱。“谱”为纯器乐曲，有标题，用于演奏。“曲”是带演唱的曲子，有谱、有词，内容题材丰富，数量众多。

3. 南音使用的琵琶为唐代形制的曲项琵琶，需横抱演奏；洞箫则沿用了唐代的“尺八”遗制。

4. 南音一律以闽南方言演唱。依照古例，必先吹奏“指套”，再唱“散曲”，最后以奏“大谱”结束。

5. 泉州市政府为保护和发展南音所做的努力包括：2004 年制定南音保护与振兴行动计划；组织文化局、艺术学院和研究社等机构参与；实施的措施包括开办南音教学学校、组织演出和比赛以及录制和存档音乐。

User:Weng Lanlin

2025-12-30T06:29:12Z

Weng Lanlin:

Weng Lanlin is a Master's student in English Translation at Hunan Normal University. Her student ID is 202570081712. She previously graduated from Fujian Agriculture and Forestry University. In her Chinese Language and Culture course, she has chosen to explore the "Cha Bai Xi" as her research topic, delving into its historical significance and social implications.

==Final Exam Paper==

===Nanyin Music===

====Introduction====
Nanyin, also known as Nan Qu, Nan Yue, Nan Guan, and Xian Guan, is an ancient musical genre originating from the Quanzhou region of Fujian Province. Performed in the southern fujian dialect, it boasts a history spanning over a thousand years. Nanyin is primarily popular in the three cities of Xiamen, Zhangzhou, and Quanzhou in southern Fujian, along with their respective counties. The musical system of Nanyin preserves traditional ancient folk singing techniques dating back to before the Tang Dynasty, while integrating the local musical characteristics of southern Fujian. It embodies the linguistic, cultural, and aesthetic traits of the Minnan region. Combining both vocal and instrumental elements, it stands as one of China’s oldest surviving musical genres and is hailed as a “living fossil of ancient Chinese music.”

====Origin and Historical Development====

There are no explicit records in historical documents regarding the origins of Nanyin. Numerous folk theories exist: 1) Nanyin emerged from the integration of Tang Dynasty court music with local folk music of southern Fujian; 2) Nanyin was brought to Fujian by the brothers Wang Chao and Wang Shenzhi. Later, through scholarly research, it is generally accepted that Nanyin was formed around the Song Dynasty. During the Song and Yuan dynasties, Quanzhou served as a pivotal hub for international exchange. Merchants and envoys from China and abroad converged here, fostering the communication of Indian, Southeast Asian, and Arab cultures. This open and inclusive social atmosphere not only preserved the local traditions of ritual music but also infused them with foreign cultural elements. Consequently, Nanyin evolved into a unique musical system that harmoniously blended classical heritage with regional characteristics while maintaining its orthodoxy.

Nanyin shares certain roots with music from the Tang Dynasty and earlier periods. It preserves many songs or qupaiming with identical names to those from the Tang Dynasty and earlier periods, such as Liangzhou Song, Ziye Song, and Autumn in the Han Palace Song. Nanyin had already taken shape by the Ming Dynasty. Woodblock-printed editions from the Ming Dynasty published a total of 259 Nanyin melodies, along with the Nanyin Collection and numerous Nanyin troupes of varying sizes. During the Qing Dynasty, Nanyin experienced further development, producing various works with diverse themes. Its repertoire extended beyond traditional subjects like love and family harmony to include pieces satirizing social institutions. It can be said that in the Qing Dynasty, households throughout southern Fujian performed Nanyin music, creating an unprecedented cultural flourishing.

During the Republic of China era, the “Nan Yue Research Society” emerged to teach Nanyin and also created works promoting resistance against Japanese aggression. After the founding of the People’s Republic of China, Nanyin gradually gained attention from the government and cultural departments. The establishment of research societies, training programs, and performance events breathed new life and vitality into this art form. In 2009, Nanyin was officially inscribed on the Representative List of the Intangible Cultural Heritage of Humanity, successfully transitioning from folk music societies to the international stage.

Deeply rooted in the daily life and folk beliefs of southern Fujian region, Nanyin’s transmission has maintained its artistic integrity through dynastic changes and periods of war and turmoil. Continuously passed down to the present day, it has become a cultural treasure cherished locally, nationally, and even globally.

====Artistic Characteristics and Main Types====
Nanyin consists of three major components: the “Dapu”, “Scattered Melodies or Sanqu”, and “Zhitao,” commonly referred to as “Pu,” “Qu,” and “Zhi.” These three musical forms encompass both vocal and instrumental pieces, featuring rich content and a complete system.

“Zhi” refers to a suite of pieces featuring lyrics, music scores, and pipa accompaniment, drawing inspiration from historical romances and tales of loyalty and filial piety. Typically performed as instrumental music, it is rarely adapted for vocal renditions.
“Pu” denotes purely instrumental compositions. “Dapu” includes titles, music scores, and pipa accompaniment, with each performance generally lasting ten to twelve minutes. Representative works include Four Seasons, Plum Blossom Exercise, Eight Steeds, and Hundred Birds Return to Nest.

“Qu”, the most numerous form compared to “Zhi” and “Pu,” are vocal pieces featuring both music scores and lyrics. The contents include lyrical, narrative, and descriptive themes, making them the most common form in Nanyin performances.

====Instruments and Performance Manners====
The instruments used in Nanyin performances include the pipa (a four-stringed lute), dongxiao (a vertical bamboo flute), erxian (a two-stringed fiddle), sanxian (a three-stringed fiddle), and clappers. Among these, the pipa employs the Tang Dynasty-style curved-neck design which can be called Qu Xiang Lute, and is played while held horizontally; the dongxiao follows the Tang Dynasty’s “shakuhachi” tradition and serves as the primary melodic instrument.

The primary performance manners of Nanyin are divided into “stringed and woodwind ensemble” and “percussion ensemble”—they can also be called Shàngsìguǎn and Xiàsìguǎn respectively in pinyin, commonly known as “Five Notes” or “Ten Notes.” Performers typically adopt a seated posture. During indoor performances, musicians sit in a plum blossom or arc formation, with the singer (holding the clapper) positioned centrally to embody Confucian principles. For outdoor performances, after one singer completes the verse, one reverently passes the clapper to the next performer, who continues the sequence song by song, concluding with the Dapu.

====Performance Characteristics====
All formal Nanyin performances are sung exclusively in minnan dialect, with tones and finals retaining Middle Chinese features, endowing the music with a strong regional character. Following ancient tradition, performances begin with the instrumental prelude “Zhi,” proceed to the “Qu” vocal section, and conclude with the “Pu” instrumental finale. The singing of Nanyin are elegant with classic simplicity, performed at a leisurely pace to create a subtle and profound musical atmosphere. Serving both social and ritual functions, Nanyin is primarily performed during ancestral worship, temple fairs, weddings, funerals, and other occasions, forming an important pillar of spiritual life for the people of Southern Fujian.

====Representative Repertoire====
The lyrics of Nanyin primarily draw from the tales of Tang Legends, Storytelling Scripts, and character stories of dramas in the Song, Yuan and Ming dynasties, focusing on descriptions of natural landscapes and expressions of inner emotions. Representative works include The Steep Mountain, Leaving the Hanguan, Breaking the Pledge with You, and Cai Wenji Returns to Han.

====Contemporary Inheritance and Development====
The primary inheritors of Nanyin are mostly seniors over sixty. Though highly skilled, their physical strength and energy cannot sustain the demands of daily training and stage performances. Moreover, with the rapid development of contemporary society and economy, young people’s aesthetic preferences have shifted, increasingly favoring popular music. The preservation and development of Nanyin are now urgent.

To ensure its continuity, the Quanzhou Municipal Government launched an action plan in 2004 to protect and revitalize Nanyin. This initiative involves the Bureau of Culture, academy of arts, and research societies in direct preservation efforts. Various measures are now underway to promote this ancient art form, including establishing teaching institutions, organizing performances and competitions, and documenting the music through recordings and archives.

Today, beyond Quanzhou, Zhangzhou, Xiamen, and the regions of Hong Kong, Macao, and Taiwan, Nanyin has spread to Southeast Asian countries like Singapore, the Philippines, Malaysia, and Thailand. It has become a spiritual bond connecting Chinese people both domestically and abroad, playing a positive role in enhancing national identity.

At present, Nanyin must explore a new positioning within modern society. While upholding its traditional essence, it must also embrace contemporary changes, building bridges through approaches that resonate with younger generations. This will encourage them to actively engage with traditional culture and experience its enduring appeal.

===References===
1. WangYaohua王耀华. (2008). 中国南音的保护与传承 [The Preservation and Transmission of Chinese Nanyin]. 福建艺术[Fujian Arts], (01), 5-11.

2. CNR News央广网. (2025). 知否·年味｜聆听新年中的千年旋律——泉州南音 [The Flavor of the New Year: Listening to the Millennia-Old Melodies of the New Year—Quanzhou Nanyin]. https://news.cnr.cn/local/dftj/20250202/t20250202_527059413.shtml.

3. Baidu Baike 百度百科. 南音[Nanyin] [EB/OL].

4. 中国非物质文化遗产网·中国非物质文化遗产数字博物馆 [China National Intangible Cultural Heritage Website: China National Intangible Cultural Heritage Museum]. 南音 [Nanyin] [EB/OL]. https://www.ihchina.cn/directory_details/11814.

5. XieYuanyuan谢媛媛, Lin Xiaowen林小闻, Hu Xing胡星. (2025). 活态传承广域传播——以泉州南音文化为例 [Living Heritage, Wide-Reaching Transmission: The Case of Quanzhou Nanyin Culture]. 黑河学院学报 [Journal of Heihe University], 16 (12), 119-122.

6. Wang Yueyang王悦阳. (2021). 南音传唱:唐宋大曲,当今之音 [The Echoes of Nanyin: Tang and Song Dynasty Melodies, Sounds of Today]. 新民周刊 [Xinmin Weekly], (29), 58-63.

===Terms===
Nanyin 南音

Nan Qu 南曲

Nan Yue 南乐

Nan Guan 南管

Xian Guan 弦管

songs or qupaiming 曲牌名

Zhi/ Zhitao 指；指套

Pu/ Dapu 谱；大谱

Qu/ Sanqu or Scattered Melodies 曲；散曲

the pipa (a four-stringed lute) 琵琶

dongxiao (a vertical bamboo flute) 洞箫

erxian (a two-stringed fiddle) 二弦

sanxian (a three-stringed fiddle) 三弦

clappers 拍板

Qu Xiang Lute 曲项琵琶

Five Notes 五音

minnan dialect; southern fujian dialect 闽南方言

finals 韵母

===Questions===
1. When did Nanyin music roughly emerge historically?

2. Briefly describe the main differences between Nanyin’s three core components: “Zhi”, “Pu” and “Qu”.

3. What are the historical origins of Nanyin instruments such as the pipa and dongxiao?

4. What are the performance characteristics of Nanyin?

5. What efforts has the government made to preserve and develop Nanyin?

===Answers===
1. According to scholarly research, Nanyin was matured around the Song Dynasty.

2. “Zhi” refers to a suite of pieces with lyrics, music scores, and pipa accompaniment, typically performed as instrumental music rather than vocal compositions. “Pu” refers purely instrumental pieces with titles, intended for performance. “Qu” are vocal pieces featuring both music scores and lyrics, covering diverse themes and existing in large numbers.

3. The pipa used in Nanyin follows the Tang Dynasty design of the Qu Xiang Lute, and is played while held horizontally; the dongxiao retains the Tang Dynasty’s “shakuhachi” form.

4. All Nanyin performances are sung in the minnan dialect. Following ancient tradition, the performance begins with “Zhi”, followed by the singing of “qu”, and concludes with the performance of the “Pu”.

5. The Quanzhou Municipal Government’s efforts to preserve and develop Nanyin include: formulating an action plan for the protection and revitalization of Nanyin in 2004; organizing the participation of institutions such as the Bureau of Culture, academy of arts, and research societies; and implementing measures including establishing schools for teaching Nanyin, organizing performances and competitions, and recording and archiving the music.

===南音===

====总体介绍====

南音，又称“南曲”、“南乐”、“南管”、“弦管”，是发源于福建泉州地区，以闽南方言演唱，具有千年历史的古老乐种。南音主要流行于福建南部的厦门、漳州、泉州三市及所属各县城。南音的音乐体系保留了唐代以前传统古老的民族唱法，并融合了闽南本地的音乐特色，体现了闽南地区的语言、文化、审美特点。它集唱、奏于一体，是中国现存最古老的乐种之一，被誉为“中国古代音乐的活化石”。

====历史起源与发展====

文献资料并没有关于南音起源的明确记载。民间说法众多：1）南音是唐代宫廷音乐与闽南当地民间音乐的融合；2）南音是王潮、王审知兄弟带来福建的。后来经过专家学者的考证，一般认为南音大约形成于宋代。泉州是宋元时期对外交流的枢纽，中外商旅、使节汇聚于此，印度、东南亚及阿拉伯文化在此交流碰撞，这种开放包容的社会氛围，非但没有冲淡当地的礼乐传统，反为其注入外来文化因素，使南音在坚守正统的同时，吸纳外来元素，形成了兼具古典与地方特色的独特音乐体系。

南音与唐代及唐以前的音乐有一定的渊源。南音中保留了许多与唐朝及唐以前同名的曲牌，如《梁州曲》、《子夜歌》、《汉宫秋》等。南音在明代已成型。明代有关于南音的木刻刊本，共刊了259首南音曲，更有《南音曲集》和大大小小的南音班社。清代，南音得到进一步发展，作品众多且题材丰富。南音曲目的题材不只是关于爱情、家庭和睦等传统主题，更有讽刺社会制度的曲目。可以说，在清代，闽南一带千家万户皆会演奏丝竹管弦，盛况空前。

民国时期也出现了传授南音技艺的“南乐研究会”，也创作了宣传抗日的作品。新中国成立后，南音逐渐受到政府和文化部门的重视，成立研究社、开办培训班、举办演唱活动等，使南音焕发出新的生机与活力。2009年，南音正式列入人类非物质文化遗产代表作名录，成功从民间乐社走向了国际舞台。

南音的传承深深植根于闽南社会的日常生活和民俗信仰，使其在王朝更迭和战争动荡的环境中仍能维系艺术完整性，并不断地传承至今，成为当地、国家甚至世界性的文化瑰宝。

====艺术特征与主要类型====

南音由“大谱”、“散曲”和“指套”三大部分组成，一般俗称为“指”“谱”“曲”。这三大乐曲既有用于演唱的，也有用于演奏的，内容丰富，体系完整。

“指”，即“指套”，是一种有词、谱、琵琶弹奏的套曲，取材于历史演义和忠孝故事。通常只用于器乐演奏，少用于声乐演唱。原有三十六套，后来发展至五十套。

“谱”，即“大谱”，为纯器乐曲。“大谱”有标题、曲谱和琵琶弹奏，每套谱一般演奏十至十二分钟左右。大谱原有十二套，后发展至十六套，代表性作品有《四时景》《梅花操》《八骏马》《百鸟归巢》。

“曲”，即“散曲”，与“指”“谱”相比，数量最为庞大，是带有演唱的曲子，有谱、有词。一般由歌唱者执拍板坐唱，也可手抱琵琶自弹自唱，内容涵盖抒情、叙事、写景等，是南音表演中最常见的形式。

====乐器与演奏形式====
南音的演奏乐器包括琵琶、洞箫、二弦、三弦和拍板。其中，琵琶采用唐代形制的曲项琵琶，需横抱演奏；洞箫沿用唐代的“尺八”遗制，是主要的旋律乐器。

南音的主要演奏形式分为“上四管”和“下四管”，俗称“五音”或“十音”，通常演奏者需采用坐奏的方式。室内演奏时，演奏者以“梅花形”或弧形围坐，演唱者（执拍板者）居中演唱，体现了儒家精神；室外演奏时，一位演唱者唱完需把拍板恭敬地递给第二个人，逐首接连地唱下去，最后是奏大谱结束。

====演唱特色====
南音的正规演唱一律以闽南方言演唱，声调韵母保留中古汉语特征，赋予了音乐强烈的地方特色。依照古例，演唱必先吹奏“指套”，再唱“散曲”，最后以奏“大谱”结束。南音唱腔古朴典雅，演唱速度舒缓，营造出含蓄、深邃的音乐意境。南音兼具社交和信仰功能，主要在祭祖、庙会、婚丧等场合演唱，是闽南人重要的精神支柱。

====代表性曲目====
南音曲词的内容主要取材于唐传奇、话本和宋元及明代戏剧的人物故事，以描写自然景观和抒发内心情感为主。代表作品有《山险峻》《出汉关》《共君断约》《文姬归汉》等。

====当代传承与发展====
南音的一线传承人多为六十岁以上的老人，虽技艺精湛，但体力和精力并不能支撑他们经历日夜训练和登台演出；而且，因当代社会和经济的飞速发展，年轻人审美转变，更加追求音乐的流行性。南音的传承与发展迫在眉睫。

为了南音的传承和持续发展，泉州市政府已于2004年制定了保护与振兴南音的行动计划，组织文化局、艺术学院、研究社等直接参与保护和传承南音的工作。目前，已采取各种措施来推广这种古老的艺术形式，如建立教授南音的学校、组织演出和比赛，并对音乐进行录制和存档。

现今，除了在泉州、漳州、厦门及其港澳台地区外，南音还传播到了新加坡、菲律宾、马来西亚、泰国等东南亚国家，成为维系国内国外中国人民的精神纽带，对增进民族认同感也起到了积极作用。

当下，南音需要在现代社会中探索新的定位，既坚守传统精髓，也需要拥抱时代变化，用年轻人喜欢的方式搭起桥梁，让他们主动靠近传统文化，感受文化的魅力。

===问题===
1. 南音大约形成于哪个历史时期？

2. 请简述南音“指”、“谱”、“曲”三大组成部分的主要区别。

3. 南音的乐器（如琵琶、洞箫）在形制上有何历史渊源？

4. 南音的演唱特色是什么样的？

5. 政府为保护和传承南音做了哪些努力？

===答案===
1. 经专家学者的仔细考证，南音大约形成于宋代。

2.“指”是一种有词、谱、琵琶弹奏的套曲，通常只用于器乐演奏，较少用于演唱。“谱”为纯器乐曲，有标题，用于演奏。“曲”是带演唱的曲子，有谱、有词，内容题材丰富，数量众多。

3. 南音使用的琵琶为唐代形制的曲项琵琶，需横抱演奏；洞箫则沿用了唐代的“尺八”遗制。

4. 南音一律以闽南方言演唱。依照古例，必先吹奏“指套”，再唱“散曲”，最后以奏“大谱”结束。

5. 泉州市政府为保护和发展南音所做的努力包括：2004 年制定南音保护与振兴行动计划；组织文化局、艺术学院和研究社等机构参与；实施的措施包括开办南音教学学校、组织演出和比赛以及录制和存档音乐。

User:Weng Lanlin

2025-12-30T06:28:37Z

Weng Lanlin:

Weng Lanlin is a Master's student in English Translation at Hunan Normal University. Her student ID is 202570081712. She previously graduated from Fujian Agriculture and Forestry University. In her Chinese Language and Culture course, she has chosen to explore the "Cha Bai Xi" as her research topic, delving into its historical significance and social implications.

==Final Exam Paper==

===Nanyin Music===

====Introduction====
Nanyin, also known as Nan Qu, Nan Yue, Nan Guan, and Xian Guan, is an ancient musical genre originating from the Quanzhou region of Fujian Province. Performed in the southern fujian dialect, it boasts a history spanning over a thousand years. Nanyin is primarily popular in the three cities of Xiamen, Zhangzhou, and Quanzhou in southern Fujian, along with their respective counties. The musical system of Nanyin preserves traditional ancient folk singing techniques dating back to before the Tang Dynasty, while integrating the local musical characteristics of southern Fujian. It embodies the linguistic, cultural, and aesthetic traits of the Minnan region. Combining both vocal and instrumental elements, it stands as one of China’s oldest surviving musical genres and is hailed as a “living fossil of ancient Chinese music.”

====Origin and Historical Development====

There are no explicit records in historical documents regarding the origins of Nanyin. Numerous folk theories exist: 1) Nanyin emerged from the integration of Tang Dynasty court music with local folk music of southern Fujian; 2) Nanyin was brought to Fujian by the brothers Wang Chao and Wang Shenzhi. Later, through scholarly research, it is generally accepted that Nanyin was formed around the Song Dynasty. During the Song and Yuan dynasties, Quanzhou served as a pivotal hub for international exchange. Merchants and envoys from China and abroad converged here, fostering the communication of Indian, Southeast Asian, and Arab cultures. This open and inclusive social atmosphere not only preserved the local traditions of ritual music but also infused them with foreign cultural elements. Consequently, Nanyin evolved into a unique musical system that harmoniously blended classical heritage with regional characteristics while maintaining its orthodoxy.

Nanyin shares certain roots with music from the Tang Dynasty and earlier periods. It preserves many songs or qupaiming with identical names to those from the Tang Dynasty and earlier periods, such as Liangzhou Song, Ziye Song, and Autumn in the Han Palace Song. Nanyin had already taken shape by the Ming Dynasty. Woodblock-printed editions from the Ming Dynasty published a total of 259 Nanyin melodies, along with the Nanyin Collection and numerous Nanyin troupes of varying sizes. During the Qing Dynasty, Nanyin experienced further development, producing various works with diverse themes. Its repertoire extended beyond traditional subjects like love and family harmony to include pieces satirizing social institutions. It can be said that in the Qing Dynasty, households throughout southern Fujian performed Nanyin music, creating an unprecedented cultural flourishing.

During the Republic of China era, the “Nan Yue Research Society” emerged to teach Nanyin and also created works promoting resistance against Japanese aggression. After the founding of the People’s Republic of China, Nanyin gradually gained attention from the government and cultural departments. The establishment of research societies, training programs, and performance events breathed new life and vitality into this art form. In 2009, Nanyin was officially inscribed on the Representative List of the Intangible Cultural Heritage of Humanity, successfully transitioning from folk music societies to the international stage.

Deeply rooted in the daily life and folk beliefs of southern Fujian region, Nanyin’s transmission has maintained its artistic integrity through dynastic changes and periods of war and turmoil. Continuously passed down to the present day, it has become a cultural treasure cherished locally, nationally, and even globally.

====Artistic Characteristics and Main Types====
Nanyin consists of three major components: the “Dapu”, “Scattered Melodies or Sanqu”, and “Zhitao,” commonly referred to as “Pu,” “Qu,” and “Zhi.” These three musical forms encompass both vocal and instrumental pieces, featuring rich content and a complete system.

“Zhi” refers to a suite of pieces featuring lyrics, music scores, and pipa accompaniment, drawing inspiration from historical romances and tales of loyalty and filial piety. Typically performed as instrumental music, it is rarely adapted for vocal renditions.
“Pu” denotes purely instrumental compositions. “Dapu” includes titles, music scores, and pipa accompaniment, with each performance generally lasting ten to twelve minutes. Representative works include Four Seasons, Plum Blossom Exercise, Eight Steeds, and Hundred Birds Return to Nest.

“Qu”, the most numerous form compared to “Zhi” and “Pu,” are vocal pieces featuring both music scores and lyrics. The contents include lyrical, narrative, and descriptive themes, making them the most common form in Nanyin performances.

====Instruments and Performance Manners====
The instruments used in Nanyin performances include the pipa (a four-stringed lute), dongxiao (a vertical bamboo flute), erxian (a two-stringed fiddle), sanxian (a three-stringed fiddle), and clappers. Among these, the pipa employs the Tang Dynasty-style curved-neck design which can be called Qu Xiang Lute, and is played while held horizontally; the dongxiao follows the Tang Dynasty’s “shakuhachi” tradition and serves as the primary melodic instrument.

The primary performance manners of Nanyin are divided into “stringed and woodwind ensemble” and “percussion ensemble”—they can also be called Shàngsìguǎn and Xiàsìguǎn respectively in pinyin, commonly known as “Five Notes” or “Ten Notes.” Performers typically adopt a seated posture. During indoor performances, musicians sit in a plum blossom or arc formation, with the singer (holding the clapper) positioned centrally to embody Confucian principles. For outdoor performances, after one singer completes the verse, one reverently passes the clapper to the next performer, who continues the sequence song by song, concluding with the Dapu.

====Performance Characteristics====
All formal Nanyin performances are sung exclusively in minnan dialect, with tones and finals retaining Middle Chinese features, endowing the music with a strong regional character. Following ancient tradition, performances begin with the instrumental prelude “Zhi,” proceed to the “Qu” vocal section, and conclude with the “Pu” instrumental finale. The singing of Nanyin are elegant with classic simplicity, performed at a leisurely pace to create a subtle and profound musical atmosphere. Serving both social and ritual functions, Nanyin is primarily performed during ancestral worship, temple fairs, weddings, funerals, and other occasions, forming an important pillar of spiritual life for the people of Southern Fujian.

====Representative Repertoire====
The lyrics of Nanyin primarily draw from the tales of Tang Legends, Storytelling Scripts, and character stories of dramas in the Song, Yuan and Ming dynasties, focusing on descriptions of natural landscapes and expressions of inner emotions. Representative works include The Steep Mountain, Leaving the Hanguan, Breaking the Pledge with You, and Cai Wenji Returns to Han.

====Contemporary Inheritance and Development====
The primary inheritors of Nanyin are mostly seniors over sixty. Though highly skilled, their physical strength and energy cannot sustain the demands of daily training and stage performances. Moreover, with the rapid development of contemporary society and economy, young people’s aesthetic preferences have shifted, increasingly favoring popular music. The preservation and development of Nanyin are now urgent.

To ensure its continuity, the Quanzhou Municipal Government launched an action plan in 2004 to protect and revitalize Nanyin. This initiative involves the Bureau of Culture, academy of arts, and research societies in direct preservation efforts. Various measures are now underway to promote this ancient art form, including establishing teaching institutions, organizing performances and competitions, and documenting the music through recordings and archives.

Today, beyond Quanzhou, Zhangzhou, Xiamen, and the regions of Hong Kong, Macao, and Taiwan, Nanyin has spread to Southeast Asian countries like Singapore, the Philippines, Malaysia, and Thailand. It has become a spiritual bond connecting Chinese people both domestically and abroad, playing a positive role in enhancing national identity.

At present, Nanyin must explore a new positioning within modern society. While upholding its traditional essence, it must also embrace contemporary changes, building bridges through approaches that resonate with younger generations. This will encourage them to actively engage with traditional culture and experience its enduring appeal.

===References===
1. WangYaohua王耀华. (2008). 中国南音的保护与传承 [The Preservation and Transmission of Chinese Nanyin]. 福建艺术[Fujian Arts], (01), 5-11.

2. CNR News央广网. (2025). 知否·年味｜聆听新年中的千年旋律——泉州南音 [The Flavor of the New Year: Listening to the Millennia-Old Melodies of the New Year—Quanzhou Nanyin]. https://news.cnr.cn/local/dftj/20250202/t20250202_527059413.shtml.

3. Baidu Baike 百度百科. 南音[Nanyin] [EB/OL].

4. 中国非物质文化遗产网·中国非物质文化遗产数字博物馆 [China National Intangible Cultural Heritage Website: China National Intangible Cultural Heritage Museum]. 南音 [Nanyin] [EB/OL]. https://www.ihchina.cn/directory_details/11814.

5. XieYuanyuan谢媛媛, Lin Xiaowen林小闻, Hu Xing胡星. (2025). 活态传承广域传播——以泉州南音文化为例 [Living Heritage, Wide-Reaching Transmission: The Case of Quanzhou Nanyin Culture]. 黑河学院学报 [Journal of Heihe University], 16 (12), 119-122.

6. Wang Yueyang王悦阳. (2021). 南音传唱:唐宋大曲,当今之音 [The Echoes of Nanyin: Tang and Song Dynasty Melodies, Sounds of Today]. 新民周刊 [Xinmin Weekly], (29), 58-63.

===Terms===
Nanyin 南音

Nan Qu 南曲

Nan Yue 南乐

Nan Guan 南管

Xian Guan 弦管

songs or qupaiming 曲牌名

Zhi/ Zhitao 指；指套

Pu/ Dapu 谱；大谱

Qu/ Sanqu or Scattered Melodies 曲；散曲

the pipa (a four-stringed lute) 琵琶

dongxiao (a vertical bamboo flute) 洞箫

erxian (a two-stringed fiddle) 二弦

sanxian (a three-stringed fiddle) 三弦

clappers 拍板

Qu Xiang Lute 曲项琵琶

Five Notes 五音

minnan dialect; southern fujian dialect 闽南方言

finals 韵母

===Questions===
1. When did Nanyin music roughly emerge historically?

2. Briefly describe the main differences between Nanyin’s three core components: “Zhi”, “Pu” and “Qu”.

3. What are the historical origins of Nanyin instruments such as the pipa and dongxiao?

4. What are the performance characteristics of Nanyin?

5. What efforts has the government made to preserve and develop Nanyin?

===Answers===
1. According to scholarly research, Nanyin was matured around the Song Dynasty.

2. “Zhi” refers to a suite of pieces with lyrics, music scores, and pipa accompaniment, typically performed as instrumental music rather than vocal compositions. “Pu” refers purely instrumental pieces with titles, intended for performance. “Qu” are vocal pieces featuring both music scores and lyrics, covering diverse themes and existing in large numbers.

3. The pipa used in Nanyin follows the Tang Dynasty design of the Qu Xiang Lute, and is played while held horizontally; the dongxiao retains the Tang Dynasty’s “shakuhachi” form.

4. All Nanyin performances are sung in the minnan dialect. Following ancient tradition, the performance begins with “Zhi”, followed by the singing of “qu”, and concludes with the performance of the “Pu”.

5. The Quanzhou Municipal Government’s efforts to preserve and develop Nanyin include: formulating an action plan for the protection and revitalization of Nanyin in 2004; organizing the participation of institutions such as the Bureau of Culture, academy of arts, and research societies; and implementing measures including establishing schools for teaching Nanyin, organizing performances and competitions, and recording and archiving the music.

===南音===

====总体介绍====

南音，又称“南曲”、“南乐”、“南管”、“弦管”，是发源于福建泉州地区，以闽南方言演唱，具有千年历史的古老乐种。南音主要流行于福建南部的厦门、漳州、泉州三市及所属各县城。南音的音乐体系保留了唐代以前传统古老的民族唱法，并融合了闽南本地的音乐特色，体现了闽南地区的语言、文化、审美特点。它集唱、奏于一体，是中国现存最古老的乐种之一，被誉为“中国古代音乐的活化石”。

====历史起源与发展====

文献资料并没有关于南音起源的明确记载。民间说法众多：1）南音是唐代宫廷音乐与闽南当地民间音乐的融合；2）南音是王潮、王审知兄弟带来福建的。后来经过专家学者的考证，一般认为南音大约形成于宋代。泉州是宋元时期对外交流的枢纽，中外商旅、使节汇聚于此，印度、东南亚及阿拉伯文化在此交流碰撞，这种开放包容的社会氛围，非但没有冲淡当地的礼乐传统，反为其注入外来文化因素，使南音在坚守正统的同时，吸纳外来元素，形成了兼具古典与地方特色的独特音乐体系。

南音与唐代及唐以前的音乐有一定的渊源。南音中保留了许多与唐朝及唐以前同名的曲牌，如《梁州曲》、《子夜歌》、《汉宫秋》等。南音在明代已成型。明代有关于南音的木刻刊本，共刊了259首南音曲，更有《南音曲集》和大大小小的南音班社。清代，南音得到进一步发展，作品众多且题材丰富。南音曲目的题材不只是关于爱情、家庭和睦等传统主题，更有讽刺社会制度的曲目。可以说，在清代，闽南一带千家万户皆会演奏丝竹管弦，盛况空前。

民国时期也出现了传授南音技艺的“南乐研究会”，也创作了宣传抗日的作品。新中国成立后，南音逐渐受到政府和文化部门的重视，成立研究社、开办培训班、举办演唱活动等，使南音焕发出新的生机与活力。2009年，南音正式列入人类非物质文化遗产代表作名录，成功从民间乐社走向了国际舞台。

南音的传承深深植根于闽南社会的日常生活和民俗信仰，使其在王朝更迭和战争动荡的环境中仍能维系艺术完整性，并不断地传承至今，成为当地、国家甚至世界性的文化瑰宝。

====艺术特征与主要类型====

南音由“大谱”、“散曲”和“指套”三大部分组成，一般俗称为“指”“谱”“曲”。这三大乐曲既有用于演唱的，也有用于演奏的，内容丰富，体系完整。

“指”，即“指套”，是一种有词、谱、琵琶弹奏的套曲，取材于历史演义和忠孝故事。通常只用于器乐演奏，少用于声乐演唱。原有三十六套，后来发展至五十套。

“谱”，即“大谱”，为纯器乐曲。“大谱”有标题、曲谱和琵琶弹奏，每套谱一般演奏十至十二分钟左右。大谱原有十二套，后发展至十六套，代表性作品有《四时景》《梅花操》《八骏马》《百鸟归巢》。

“曲”，即“散曲”，与“指”“谱”相比，数量最为庞大，是带有演唱的曲子，有谱、有词。一般由歌唱者执拍板坐唱，也可手抱琵琶自弹自唱，内容涵盖抒情、叙事、写景等，是南音表演中最常见的形式。

====乐器与演奏形式====
南音的演奏乐器包括琵琶、洞箫、二弦、三弦和拍板。其中，琵琶采用唐代形制的曲项琵琶，需横抱演奏；洞箫沿用唐代的“尺八”遗制，是主要的旋律乐器。

南音的主要演奏形式分为“上四管”和“下四管”，俗称“五音”或“十音”，通常演奏者需采用坐奏的方式。室内演奏时，演奏者以“梅花形”或弧形围坐，演唱者（执拍板者）居中演唱，体现了儒家精神；室外演奏时，一位演唱者唱完需把拍板恭敬地递给第二个人，逐首接连地唱下去，最后是奏大谱结束。

====演唱特色====
南音的正规演唱一律以闽南方言演唱，声调韵母保留中古汉语特征，赋予了音乐强烈的地方特色。依照古例，演唱必先吹奏“指套”，再唱“散曲”，最后以奏“大谱”结束。南音唱腔古朴典雅，演唱速度舒缓，营造出含蓄、深邃的音乐意境。南音兼具社交和信仰功能，主要在祭祖、庙会、婚丧等场合演唱，是闽南人重要的精神支柱。

====代表性曲目====
南音曲词的内容主要取材于唐传奇、话本和宋元及明代戏剧的人物故事，以描写自然景观和抒发内心情感为主。代表作品有《山险峻》《出汉关》《共君断约》《文姬归汉》等。

====当代传承与发展====
南音的一线传承人多为六十岁以上的老人，虽技艺精湛，但体力和精力并不能支撑他们经历日夜训练和登台演出；而且，因当代社会和经济的飞速发展，年轻人审美转变，更加追求音乐的流行性。南音的传承与发展迫在眉睫。

为了南音的传承和持续发展，泉州市政府已于2004年制定了保护与振兴南音的行动计划，组织文化局、艺术学院、研究社等直接参与保护和传承南音的工作。目前，已采取各种措施来推广这种古老的艺术形式，如建立教授南音的学校、组织演出和比赛，并对音乐进行录制和存档。

现今，除了在泉州、漳州、厦门及其港澳台地区外，南音还传播到了新加坡、菲律宾、马来西亚、泰国等东南亚国家，成为维系国内国外中国人民的精神纽带，对增进民族认同感也起到了积极作用。

当下，南音需要在现代社会中探索新的定位，既坚守传统精髓，也需要拥抱时代变化，用年轻人喜欢的方式搭起桥梁，让他们主动靠近传统文化，感受文化的魅力。

===问题===
1. 南音大约形成于哪个历史时期？

2. 请简述南音“指”、“谱”、“曲”三大组成部分的主要区别。

3. 南音的乐器（如琵琶、洞箫）在形制上有何历史渊源？

4. 南音的演唱特色是什么样的？

5. 政府为保护和传承南音做了哪些努力？

===答案===
1. 经专家学者的仔细考证，南音大约形成于宋代。

2.“指”是一种有词、谱、琵琶弹奏的套曲，通常只用于器乐演奏，较少用于演唱。“谱”为纯器乐曲，有标题，用于演奏。“曲”是带演唱的曲子，有谱、有词，内容题材丰富，数量众多。

3. 南音使用的琵琶为唐代形制的曲项琵琶，需横抱演奏；洞箫则沿用了唐代的“尺八”遗制。

4. 南音一律以闽南方言演唱。依照古例，必先吹奏“指套”，再唱“散曲”，最后以奏“大谱”结束。

5. 泉州市政府为保护和发展南音所做的努力包括：2004 年制定南音保护与振兴行动计划；组织文化局、艺术学院和研究社等机构参与；实施的措施包括开办南音教学学校、组织演出和比赛以及录制和存档音乐。

User:Weng Lanlin

2025-12-30T06:27:29Z

Weng Lanlin:

Weng Lanlin is a Master's student in English Translation at Hunan Normal University. Her student ID is 202570081712. She previously graduated from Fujian Agriculture and Forestry University. In her Chinese Language and Culture course, she has chosen to explore the "Cha Bai Xi" as her research topic, delving into its historical significance and social implications.

==Final Exam Paper==

===Nanyin Music===

====Introduction====
Nanyin, also known as Nan Qu, Nan Yue, Nan Guan, and Xian Guan, is an ancient musical genre originating from the Quanzhou region of Fujian Province. Performed in the southern fujian dialect, it boasts a history spanning over a thousand years. Nanyin is primarily popular in the three cities of Xiamen, Zhangzhou, and Quanzhou in southern Fujian, along with their respective counties. The musical system of Nanyin preserves traditional ancient folk singing techniques dating back to before the Tang Dynasty, while integrating the local musical characteristics of southern Fujian. It embodies the linguistic, cultural, and aesthetic traits of the Minnan region. Combining both vocal and instrumental elements, it stands as one of China’s oldest surviving musical genres and is hailed as a “living fossil of ancient Chinese music.”

====Origin and Historical Development====

There are no explicit records in historical documents regarding the origins of Nanyin. Numerous folk theories exist: 1) Nanyin emerged from the integration of Tang Dynasty court music with local folk music of southern Fujian; 2) Nanyin was brought to Fujian by the brothers Wang Chao and Wang Shenzhi. Later, through scholarly research, it is generally accepted that Nanyin was formed around the Song Dynasty. During the Song and Yuan dynasties, Quanzhou served as a pivotal hub for international exchange. Merchants and envoys from China and abroad converged here, fostering the communication of Indian, Southeast Asian, and Arab cultures. This open and inclusive social atmosphere not only preserved the local traditions of ritual music but also infused them with foreign cultural elements. Consequently, Nanyin evolved into a unique musical system that harmoniously blended classical heritage with regional characteristics while maintaining its orthodoxy.

Nanyin shares certain roots with music from the Tang Dynasty and earlier periods. It preserves many songs or qupaiming with identical names to those from the Tang Dynasty and earlier periods, such as Liangzhou Song, Ziye Song, and Autumn in the Han Palace Song. Nanyin had already taken shape by the Ming Dynasty. Woodblock-printed editions from the Ming Dynasty published a total of 259 Nanyin melodies, along with the Nanyin Collection and numerous Nanyin troupes of varying sizes. During the Qing Dynasty, Nanyin experienced further development, producing various works with diverse themes. Its repertoire extended beyond traditional subjects like love and family harmony to include pieces satirizing social institutions. It can be said that in the Qing Dynasty, households throughout southern Fujian performed Nanyin music, creating an unprecedented cultural flourishing.

During the Republic of China era, the “Nan Yue Research Society” emerged to teach Nanyin and also created works promoting resistance against Japanese aggression. After the founding of the People’s Republic of China, Nanyin gradually gained attention from the government and cultural departments. The establishment of research societies, training programs, and performance events breathed new life and vitality into this art form. In 2009, Nanyin was officially inscribed on the Representative List of the Intangible Cultural Heritage of Humanity, successfully transitioning from folk music societies to the international stage.

Deeply rooted in the daily life and folk beliefs of southern Fujian region, Nanyin’s transmission has maintained its artistic integrity through dynastic changes and periods of war and turmoil. Continuously passed down to the present day, it has become a cultural treasure cherished locally, nationally, and even globally.

====Artistic Characteristics and Main Types====
Nanyin consists of three major components: the “Dapu”, “Scattered Melodies or Sanqu”, and “Zhitao,” commonly referred to as “Pu,” “Qu,” and “Zhi.” These three musical forms encompass both vocal and instrumental pieces, featuring rich content and a complete system.

“Zhi” refers to a suite of pieces featuring lyrics, music scores, and pipa accompaniment, drawing inspiration from historical romances and tales of loyalty and filial piety. Typically performed as instrumental music, it is rarely adapted for vocal renditions.
“Pu” denotes purely instrumental compositions. “Dapu” includes titles, music scores, and pipa accompaniment, with each performance generally lasting ten to twelve minutes. Representative works include Four Seasons, Plum Blossom Exercise, Eight Steeds, and Hundred Birds Return to Nest.

“Qu”, the most numerous form compared to “Zhi” and “Pu,” are vocal pieces featuring both music scores and lyrics. The contents include lyrical, narrative, and descriptive themes, making them the most common form in Nanyin performances.

====Instruments and Performance Manners====
The instruments used in Nanyin performances include the pipa (a four-stringed lute), dongxiao (a vertical bamboo flute), erxian (a two-stringed fiddle), sanxian (a three-stringed fiddle), and clappers. Among these, the pipa employs the Tang Dynasty-style curved-neck design which can be called Qu Xiang Lute, and is played while held horizontally; the dongxiao follows the Tang Dynasty’s “shakuhachi” tradition and serves as the primary melodic instrument.

The primary performance manners of Nanyin are divided into “stringed and woodwind ensemble” and “percussion ensemble”—they can also be called Shàngsìguǎn and Xiàsìguǎn respectively in pinyin, commonly known as “Five Notes” or “Ten Notes.” Performers typically adopt a seated posture. During indoor performances, musicians sit in a plum blossom or arc formation, with the singer (holding the clapper) positioned centrally to embody Confucian principles. For outdoor performances, after one singer completes the verse, one reverently passes the clapper to the next performer, who continues the sequence song by song, concluding with the Dapu.

====Performance Characteristics====
All formal Nanyin performances are sung exclusively in minnan dialect, with tones and finals retaining Middle Chinese features, endowing the music with a strong regional character. Following ancient tradition, performances begin with the instrumental prelude “Zhi,” proceed to the “Qu” vocal section, and conclude with the “Pu” instrumental finale. The singing of Nanyin are elegant with classic simplicity, performed at a leisurely pace to create a subtle and profound musical atmosphere. Serving both social and ritual functions, Nanyin is primarily performed during ancestral worship, temple fairs, weddings, funerals, and other occasions, forming an important pillar of spiritual life for the people of Southern Fujian.

====Representative Repertoire====
The lyrics of Nanyin primarily draw from the tales of Tang Legends, Storytelling Scripts, and character stories of dramas in the Song, Yuan and Ming dynasties, focusing on descriptions of natural landscapes and expressions of inner emotions. Representative works include The Steep Mountain, Leaving the Hanguan, Breaking the Pledge with You, and Cai Wenji Returns to Han.

====Contemporary Inheritance and Development====
The primary inheritors of Nanyin are mostly seniors over sixty. Though highly skilled, their physical strength and energy cannot sustain the demands of daily training and stage performances. Moreover, with the rapid development of contemporary society and economy, young people’s aesthetic preferences have shifted, increasingly favoring popular music. The preservation and development of Nanyin are now urgent.

To ensure its continuity, the Quanzhou Municipal Government launched an action plan in 2004 to protect and revitalize Nanyin. This initiative involves the Bureau of Culture, academy of arts, and research societies in direct preservation efforts. Various measures are now underway to promote this ancient art form, including establishing teaching institutions, organizing performances and competitions, and documenting the music through recordings and archives.

Today, beyond Quanzhou, Zhangzhou, Xiamen, and the regions of Hong Kong, Macao, and Taiwan, Nanyin has spread to Southeast Asian countries like Singapore, the Philippines, Malaysia, and Thailand. It has become a spiritual bond connecting Chinese people both domestically and abroad, playing a positive role in enhancing national identity.

At present, Nanyin must explore a new positioning within modern society. While upholding its traditional essence, it must also embrace contemporary changes, building bridges through approaches that resonate with younger generations. This will encourage them to actively engage with traditional culture and experience its enduring appeal.

===References===
1. WangYaohua王耀华. (2008). 中国南音的保护与传承 [The Preservation and Transmission of Chinese Nanyin]. 福建艺术[Fujian Arts], (01), 5-11.

2. CNR News央广网. (2025). 知否·年味｜聆听新年中的千年旋律——泉州南音 [The Flavor of the New Year: Listening to the Millennia-Old Melodies of the New Year—Quanzhou Nanyin]. https://news.cnr.cn/local/dftj/20250202/t20250202_527059413.shtml.

3. Baidu Baike 百度百科. 南音[Nanyin] [EB/OL].

4. 中国非物质文化遗产网·中国非物质文化遗产数字博物馆 [China National Intangible Cultural Heritage Website: China National Intangible Cultural Heritage Museum]. 南音 [Nanyin] [EB/OL]. https://www.ihchina.cn/directory_details/11814.

5. XieYuanyuan谢媛媛, Lin Xiaowen林小闻, Hu Xing胡星. (2025). 活态传承广域传播——以泉州南音文化为例 [Living Heritage, Wide-Reaching Transmission: The Case of Quanzhou Nanyin Culture]. 黑河学院学报 [Journal of Heihe University], 16 (12), 119-122.

6. Wang Yueyang王悦阳. (2021). 南音传唱:唐宋大曲,当今之音 [The Echoes of Nanyin: Tang and Song Dynasty Melodies, Sounds of Today]. 新民周刊 [Xinmin Weekly], (29), 58-63.

===Terms===
Nanyin 南音

Nan Qu 南曲

Nan Yue 南乐

Nan Guan 南管

Xian Guan 弦管

songs or qupaiming 曲牌名

Zhi/ Zhitao 指；指套

Pu/ Dapu 谱；大谱

Qu/ Sanqu or Scattered Melodies 曲；散曲

the pipa (a four-stringed lute) 琵琶

dongxiao (a vertical bamboo flute) 洞箫

erxian (a two-stringed fiddle) 二弦

sanxian (a three-stringed fiddle) 三弦

clappers 拍板

Qu Xiang Lute 曲项琵琶

Five Notes 五音

minnan dialect; southern fujian dialect 闽南方言

finals 韵母

===Questions===
1. When did Nanyin music roughly emerge historically?

2. Briefly describe the main differences between Nanyin’s three core components: “Zhi”, “Pu” and “Qu”.

3. What are the historical origins of Nanyin instruments such as the pipa and dongxiao?

4. What are the performance characteristics of Nanyin?

5. What efforts has the government made to preserve and develop Nanyin?

===Answers===
1. According to scholarly research, Nanyin was matured around the Song Dynasty.

2. “Zhi” refers to a suite of pieces with lyrics, music scores, and pipa accompaniment, typically performed as instrumental music rather than vocal compositions. “Pu” refers purely instrumental pieces with titles, intended for performance. “Qu” are vocal pieces featuring both music scores and lyrics, covering diverse themes and existing in large numbers.

3. The pipa used in Nanyin follows the Tang Dynasty design of the Qu Xiang Lute, and is played while held horizontally; the dongxiao retains the Tang Dynasty’s “shakuhachi” form.

4. All Nanyin performances are sung in the minnan dialect. Following ancient tradition, the performance begins with “Zhi”, followed by the singing of “qu”, and concludes with the performance of the “Pu”.

5. The Quanzhou Municipal Government’s efforts to preserve and develop Nanyin include: formulating an action plan for the protection and revitalization of Nanyin in 2004; organizing the participation of institutions such as the Bureau of Culture, academy of arts, and research societies; and implementing measures including establishing schools for teaching Nanyin, organizing performances and competitions, and recording and archiving the music.

===南音===

====总体介绍====

南音，又称“南曲”、“南乐”、“南管”、“弦管”，是发源于福建泉州地区，以闽南方言演唱，具有千年历史的古老乐种。南音主要流行于福建南部的厦门、漳州、泉州三市及所属各县城。南音的音乐体系保留了唐代以前传统古老的民族唱法，并融合了闽南本地的音乐特色，体现了闽南地区的语言、文化、审美特点。它集唱、奏于一体，是中国现存最古老的乐种之一，被誉为“中国古代音乐的活化石”。

====历史起源与发展====

文献资料并没有关于南音起源的明确记载。民间说法众多：1）南音是唐代宫廷音乐与闽南当地民间音乐的融合；2）南音是王潮、王审知兄弟带来福建的。后来经过专家学者的考证，一般认为南音大约形成于宋代。泉州是宋元时期对外交流的枢纽，中外商旅、使节汇聚于此，印度、东南亚及阿拉伯文化在此交流碰撞，这种开放包容的社会氛围，非但没有冲淡当地的礼乐传统，反为其注入外来文化因素，使南音在坚守正统的同时，吸纳外来元素，形成了兼具古典与地方特色的独特音乐体系。

南音与唐代及唐以前的音乐有一定的渊源。南音中保留了许多与唐朝及唐以前同名的曲牌，如《梁州曲》、《子夜歌》、《汉宫秋》等。南音在明代已成型。明代有关于南音的木刻刊本，共刊了259首南音曲，更有《南音曲集》和大大小小的南音班社。清代，南音得到进一步发展，作品众多且题材丰富。南音曲目的题材不只是关于爱情、家庭和睦等传统主题，更有讽刺社会制度的曲目。可以说，在清代，闽南一带千家万户皆会演奏丝竹管弦，盛况空前。

民国时期也出现了传授南音技艺的“南乐研究会”，也创作了宣传抗日的作品。新中国成立后，南音逐渐受到政府和文化部门的重视，成立研究社、开办培训班、举办演唱活动等，使南音焕发出新的生机与活力。2009年，南音正式列入人类非物质文化遗产代表作名录，成功从民间乐社走向了国际舞台。

南音的传承深深植根于闽南社会的日常生活和民俗信仰，使其在王朝更迭和战争动荡的环境中仍能维系艺术完整性，并不断地传承至今，成为当地、国家甚至世界性的文化瑰宝。

====艺术特征与主要类型====

南音由“大谱”、“散曲”和“指套”三大部分组成，一般俗称为“指”“谱”“曲”。这三大乐曲既有用于演唱的，也有用于演奏的，内容丰富，体系完整。

“指”，即“指套”，是一种有词、谱、琵琶弹奏的套曲，取材于历史演义和忠孝故事。通常只用于器乐演奏，少用于声乐演唱。原有三十六套，后来发展至五十套。

“谱”，即“大谱”，为纯器乐曲。“大谱”有标题、曲谱和琵琶弹奏，每套谱一般演奏十至十二分钟左右。大谱原有十二套，后发展至十六套，代表性作品有《四时景》《梅花操》《八骏马》《百鸟归巢》。

“曲”，即“散曲”，与“指”“谱”相比，数量最为庞大，是带有演唱的曲子，有谱、有词。一般由歌唱者执拍板坐唱，也可手抱琵琶自弹自唱，内容涵盖抒情、叙事、写景等，是南音表演中最常见的形式。

====乐器与演奏形式====
南音的演奏乐器包括琵琶、洞箫、二弦、三弦和拍板。其中，琵琶采用唐代形制的曲项琵琶，需横抱演奏；洞箫沿用唐代的“尺八”遗制，是主要的旋律乐器。

南音的主要演奏形式分为“上四管”和“下四管”，俗称“五音”或“十音”，通常演奏者需采用坐奏的方式。室内演奏时，演奏者以“梅花形”或弧形围坐，演唱者（执拍板者）居中演唱，体现了儒家精神；室外演奏时，一位演唱者唱完需把拍板恭敬地递给第二个人，逐首接连地唱下去，最后是奏大谱结束。

====演唱特色====
南音的正规演唱一律以闽南方言演唱，声调韵母保留中古汉语特征，赋予了音乐强烈的地方特色。依照古例，演唱必先吹奏“指套”，再唱“散曲”，最后以奏“大谱”结束。南音唱腔古朴典雅，演唱速度舒缓，营造出含蓄、深邃的音乐意境。南音兼具社交和信仰功能，主要在祭祖、庙会、婚丧等场合演唱，是闽南人重要的精神支柱。

====代表性曲目====
南音曲词的内容主要取材于唐传奇、话本和宋元及明代戏剧的人物故事，以描写自然景观和抒发内心情感为主。代表作品有《山险峻》《出汉关》《共君断约》《文姬归汉》等。

====当代传承与发展====
南音的一线传承人多为六十岁以上的老人，虽技艺精湛，但体力和精力并不能支撑他们经历日夜训练和登台演出；而且，因当代社会和经济的飞速发展，年轻人审美转变，更加追求音乐的流行性。南音的传承与发展迫在眉睫。

为了南音的传承和持续发展，泉州市政府已于2004年制定了保护与振兴南音的行动计划，组织文化局、艺术学院、研究社等直接参与保护和传承南音的工作。目前，已采取各种措施来推广这种古老的艺术形式，如建立教授南音的学校、组织演出和比赛，并对音乐进行录制和存档。

现今，除了在泉州、漳州、厦门及其港澳台地区外，南音还传播到了新加坡、菲律宾、马来西亚、泰国等东南亚国家，成为维系国内国外中国人民的精神纽带，对增进民族认同感也起到了积极作用。

当下，南音需要在现代社会中探索新的定位，既坚守传统精髓，也需要拥抱时代变化，用年轻人喜欢的方式搭起桥梁，让他们主动靠近传统文化，感受文化的魅力。

===问题===
1. 南音大约形成于哪个历史时期？

2. 请简述南音“指”、“谱”、“曲”三大组成部分的主要区别。

3. 南音的乐器（如琵琶、洞箫）在形制上有何历史渊源？

4. 南音的演唱特色是什么样的？

5. 政府为保护和传承南音做了哪些努力？

===答案===
1. 经专家学者的仔细考证，南音大约形成于宋代。

2.“指”是一种有词、谱、琵琶弹奏的套曲，通常只用于器乐演奏，较少用于演唱。“谱”为纯器乐曲，有标题，用于演奏。“曲”是带演唱的曲子，有谱、有词，内容题材丰富，数量众多。

3. 南音使用的琵琶为唐代形制的曲项琵琶，需横抱演奏；洞箫则沿用了唐代的“尺八”遗制。

4. 南音一律以闽南方言演唱。依照古例，必先吹奏“指套”，再唱“散曲”，最后以奏“大谱”结束。

5. 泉州市政府为保护和发展南音所做的努力包括：2004 年制定南音保护与振兴行动计划；组织文化局、艺术学院和研究社等机构参与；实施的措施包括开办南音教学学校、组织演出和比赛以及录制和存档音乐。

Talk:Uvu/index.php/User:Wei Fangxin

2025-12-30T06:13:21Z

Weng Lanlin: Created page with "==Final Paper== ===Jingzhou Fish Cake=== ====Introduction==== In the culinary landscape of Jingchu (the ancient name for the Hubei region), Jingzhou Fish Cake is undoubtedly..."

==Final Paper==

===Jingzhou Fish Cake===

====Introduction====
In the culinary landscape of Jingchu (the ancient name for the Hubei region), Jingzhou Fish Cake is undoubtedly a bright pearl. Fish Cake is the most distinctive way to prepare fish. It resembles a cake in shape, yet its taste is extremely different. As a National Geographical Indication Product and a provincial-level Intangible Cultural Heritage item, it has conquered the taste buds of countless diners with its exquisite texture of "enjoying fish without seeing its form". Furthermore, with its profound folk status of "no banquet is complete without the Fish Cake", it has integrated into the daily life of local people, becoming a core symbol carrying the essence of Jingchu culinary culture. This delicacy, precipitated over thousands of years, is not only a perfect integration of ingredients and craftsmanship but also a vivid carrier of regional culture and historical memories. In 2009, the production technique of Jingzhou Fish Cake was successfully included in the second batch of the Provincial Intangible Cultural Heritage Representative Projects List of Hubei Province, marking the official recognition of its intangible cultural heritage value. In 2013, it also obtained the National Geographical Indication Product Protection Certification, further establishing its unique position in the national culinary culture and allowing this Jingchu flavor to go beyond the region and be known and loved by more people.

====Historical Origin====
Jingzhou, located in the hinterland of the Jianghan Plain, where the Yangtze River and the Han River converge, is covered with dense rivers and lakes, and has long been renowned as a "land of fish and rice". The advantageous natural environment has nurtured abundant aquatic resources and developed fish-centered culinary wisdom. Here, fish is not only a common ingredient on the dining table but also integrated into the blood of regional culture. The birth and development of Jingzhou Fish Cake is the concentrated embodiment of this culinary wisdom.

A mythical legend has been passed down regarding the origin of Jingzhou Fish Cake. It is said that it has been created by Eying, the concubine of Emperor Shun, and widely popularized across the Jingchu region. According to verifiable historical records, it became the premier dish of the Chu royal court during the Spring and Autumn and Warring States Periods, and remained a royal delicacy even in the Qing Dynasty. It is said that after tasting Jingzhou Fish Cake, Emperor Qianlong blurted out in praise: "Tasting fish without seeing its flesh, what a delightful cake as fine as lily!" From the Chu Dynasty to the Qing Dynasty, Jingzhou Fish Cake endured through 17 dynasties in China and a history of more than 4,000 years. It has always held an important position in the realm of culinary culture, gradually evolving from an imperial delicacy into a folk food, and ranking as one of the most representative flavors of the Jingchu land.

====Craftsmanship====
The selection of ingredients is the foundation of making Fish Cake, and also the key factor that determines its quality. The preferred raw materials for Jingzhou Fish Cake are fresh grass carps or black carps weighing 7 to 8 jin, caught from the Yangtze River basin. These two types of fish are the top choice for their unique meat quality: large-sized grass carps and black carps have firm and plump flesh with moderate moisture content, almost no earthy taste, and are rich in collagen. After processing, their flesh can yield a delicate and springy texture.

Besides the main ingredient of fish meat, the selection of supplementary ingredients is equally meticulous. To render the Fish Cake’s texture more moist and mellow, and avoid a dry taste, makers add an appropriate amount of lard or diced fatty pork. The mild richness of lard blends with the fresh fragrance of fish meat, enriching the Fish Cake’s flavor and enhancing its moistness. Egg white is also an indispensable ingredient; it boasts strong water retention and adhesive properties, which firmly bind the fish paste together, making the Fish Cake compact and less likely to crumble after shaping. In addition, proper amounts of starch, ginger, scallions and salt are added as seasonings. Starch further improves the Fish Cake’s shaping effect, while ginger and scallions effectively neutralize the fishy taste and heighten the overall fresh aroma of the dish.

Once all ingredients are prepared, the most crucial step in making Fish Cake begins — beating the fish paste. All the prepared ingredients are fully mixed and beaten continuously in one single direction until the fish paste becomes thick, cohesive, fluffy and elastic. Beating by hand not only prevents the fish flesh from being damaged by the high temperature of mechanical mixers, but also allows makers to precisely gauge the perfect consistency purely by touch.
After the fish paste is well beaten, it is ready for steaming. The paste is placed into a steamer and fully cooked; under the effect of high temperature, the oil melts, making the Fish Cake increasingly soft and tender. Forty minutes later, a layer of golden egg liquid is brushed over its surface, and the Fish Cake is steamed again. Through this process, the fish flesh is completely transformed, and the Fish Cake is finished. The final product is bright white in color, smooth in texture and elastic in taste, achieving the culinary wonder of "eating fish without tasting its fibrous form".

====Folk Culture ====
Jingzhou Fish Cake is a representative of Jingchu culinary culture. It embodies the culinary wisdom of "eating fish without seeing its flesh", integrates the ingredients and etiquette culture of the Chu region, and has become a hallmark of Jingchu delicacies. In Jingzhou, Jingzhou Fish Cake has long transcended the simple category of delicacy and integrated itself into the local folk culture, becoming an important carrier for people to express their emotions and convey blessings. With the development of the times, the craftsmanship of making Jingzhou Fish Cake has been constantly innovated, and its form has become increasingly exquisite. Nowadays, local people often match it with other ingredients when making Fish Cake to create a richer variety of dishes: Fish Cake is made from fish meat and fatty pork, and round meatballs are prepared with pork and Chinese yam. The meatballs are laid at the bottom of a bowl, the Fish Cake placed in the middle, and finally the top is covered with stir-fried pork tripe slices, kidney slices, agaric and shiitake mushrooms. This dish is a colorful and nutrient-rich "assorted meatballs", also known as Huagao by local people. This improved Fish Cake dish not only has a richer flavor, but also has become an indispensable first course at wedding feasts, funerals and all other ceremonial banquets in Jingzhou. Jingzhou Fish Cake has gone beyond a mere dietary habit and gradually accumulated into a distinctive local folk culture. Fish Cake is a homophone for Yu Gao in Chinese, implying the auspicious wish of "having surplus year after year and making steady progress step by step". For thousands of years in Jingzhou, Fish Cake has always been a must-have grand dish to entertain guests on festivals, weddings, funerals and joyous banquets, hence the local saying: "No banquet is complete without wine, and no feast is perfect without Fish Cake".

===References===
[1] Jingzhou Municipal Bureau of Commerce. Chuwei Jingzhou [Chu Cuisine of Jingzhou] [M]. Wuhan: Hubei Science and Technology Press, 2020.

[2] Zhang, W. P. Essence of Jingchu Culinary Culture [M]. Wuhan: Hubei People's Publishing House, 2021.

[3] Foreign Affairs Office of Hubei Provincial People's Government. Jingzhou Tourism 2018: Local Food of Jingzhou (EB/OL). (2015-07-09)[2025-12-29]. http://en.hubei.gov.cn/tourism_2018/cities_2018/jingzhou_tourism2018/food_jinghzou/201507/t20150709_1413875.shtml?show_loading=0&webview_progress_bar=1&push_animated=1&theme=light.

[4] Baidu Encyclopedia. Jingzhou Fish Cake (EB/OL). (Last updated: 2025-06-11)[Accessed: 2025-12-29]. https://baike.baidu.com/item/荆州鱼糕.

===Terms===

荆州鱼糕 Jingzhou Fish Cake

省级非物质文化遗产 Provincial Intangible Cultural Heritage

国家地理标志产品 National Geographical Indication Product

鱼米之乡 a land of fish and rice

宫廷名菜 royal court dish

鱼糜fish paste

宴席头菜signature banquet first course

杂烩丸子assorted meatballs
===Questions===
1. What is the key reason why Jingzhou Fish Cake is known as the core symbol of Jingchu food culture?

2. What are the innate conditions for Jingzhou to be rich in Fish Cake?

3. What is the homophonic sound of Jingzhou Fish Cake, and what auspicious implication does it have?

4. Who is Jingzhou Fish Cake said to be created by, and in which period was it a royal court dish in history?

5. What is the preferred raw material for making Jingzhou Fish Cake?

6. What are the key requirements for manually stirring the fish paste?

===Answers===
1. It is because of its exquisite taste of eating fish without seeing the fish itself and its folk status of no banquet is complete without Fish Cake.

2. It is located in the Jianghan Plain with dense rivers and lakes, being a land of fish and rice, and has been abundant in fish since ancient times.

3. It is a homophone for "Yu gao", implying having surplus year after year and making steady progress step by step.

4. It is said to be created by Eying, the concubine of Emperor Shun; it was a royal court dish from the Spring and Autumn and Warring States Periods to the Qing Dynasty.

5. The preferred raw materials are fresh 7-8 jin grass carps and black carps from the Yangtze River Basin.

6. It is required to stir in one single direction until the fish paste becomes thick and cohesive, fluffy and elastic.

===荆州鱼糕===

====简介====
在荆楚大地的美食中，荆州鱼糕无疑是一颗璀璨的明珠。鱼糕是鱼肉最特别的一种吃法，形似蛋糕，但味道却天差地别。作为国家地理标志产品与省级非物质文化遗产，它以“食鱼不见鱼”的精妙口感征服了无数食客的味蕾，更以“无糕不成席”的深厚民俗地位融入当地人的日常生活，成为承载荆楚饮食文化精髓的核心符号。这份历经千年沉淀的美味，不仅是食材与技艺的完美融合，更是地域文化与历史记忆的生动载体。2009年，荆州鱼糕制作技艺成功入选湖北省第二批省级非物质文化遗产代表性项目名录，标志着其非遗价值得到官方认可；2013年，它又获得了国家地理标志产品保护认证，进一步确立了其在全国饮食文化中的独特地位，让这份荆楚风味走出地域，被更多人熟知与喜爱。

====历史溯源====
荆州，地处江汉平原腹地，长江与汉江在此交汇，境内河湖密布、水网纵横，素有“鱼米之乡”的美誉。得天独厚的自然环境，孕育了丰富的水产资源，也催生了以鱼为核心的饮食智慧。在这里，鱼不仅是餐桌上的常见食材，更融入了地域文化的血脉，而荆州鱼糕的诞生与发展，正是这份饮食智慧的集中体现。
关于荆州鱼糕的起源，流传着一段颇具神话色彩的传说。鱼糕相传为舜帝妃子女英所创，在荆楚一带广为流传。根据有据可考的历史显示，春秋战国时开始成为楚宫廷头道菜，直到清朝，仍是一道宫廷菜。据说乾隆尝过荆州花糕后脱口而称赞道：“食鱼不见鱼，可人百合糕”。从楚到清，荆州鱼糕历经中国17个朝代，跨越4000多年的时光，始终在饮食文化的舞台上占据重要地位，从宫廷御膳逐渐走向民间，成为荆楚大地最具代表性的风味之一。

====制作技艺====
食材的选择是制作鱼糕的基础，也是决定鱼糕品质的关键。荆州鱼糕的原材料首选长江流域出产的7-8斤鲜活草鱼或青鱼。这两种鱼之所以成为首选，原因在于其独特的肉质特点：体型较大的草鱼和青鱼，肉质紧实饱满，含水量适中，且几乎没有土腥味，同时富含胶原蛋白，经过加工后能形成细腻弹牙的口感。
除了主料鱼肉，配料的选择也同样讲究。为了让鱼糕的口感更加温润醇厚，避免出现干柴的情况，制作者会加入适量的猪油或肥肉丁。猪油的温润与鱼肉的鲜香相互融合，能让鱼糕的风味更加浓郁，同时增加鱼糕的滋润度。鸡蛋清也是不可或缺的配料之一，它具有极强的持水性和粘合性，能将鱼肉糜牢牢粘合在一起，让鱼糕成型后更加紧实，不易松散。此外，还需加入适量的淀粉、生姜、葱、盐等调料，淀粉能进一步提升鱼糕的成型效果，生姜和葱则能有效去除鱼肉的腥味，提升整体的鲜香度。
配料准备就绪后，便进入了制作鱼糕最关键的环节——鱼糜的搅打。将所有准备就绪的材料充分混合顺着一个方向搅打，直至鱼糜粘稠上劲，蓬松有弹性为止。手工搅拌，不仅是为了避免机器高温损伤肉质，更是凭着手感，精准拿捏着那份恰到好处的粘稠度。鱼糜搅打完成后，便可以进行蒸制了。将鱼糜放入蒸锅中蒸熟，在高温的作用下，油脂溶解，鱼糕变得愈发松软。40分钟后，抹上一层金黄的蛋液，回锅复蒸后，鱼肉脱胎换骨，就做成了鱼糕。成品色泽洁白、质地柔滑、富有弹性，实现“吃鱼不见鱼”的味觉奇迹。

====民俗文化====
荆州鱼糕是荆楚饮食文化的代表，体现‘吃鱼不见鱼’的烹饪智慧，融合楚地食材与礼仪文化，成为荆楚美食名片。在荆州，荆州鱼糕早已超越了单纯的美食范畴，融入了当地的民俗文化之中，成为人们表达情感、传递祝福的重要载体。随着时代的发展，荆州鱼糕的制作工艺不断创新，造型也愈发精美。如今，当地百姓在制作鱼糕时，还会搭配其他食材，打造出更加丰富多样的菜品：用鱼肉和肥膘肉制成鱼糕，再用猪肉、山药等制成圆润的肉丸，将肉丸铺在碗底，鱼糕放在中间，最后用炒香的肚片、腰片、木耳、香菇等食材铺在最上层，做成一道色彩绚丽、营养丰富的“杂烩丸子”，当地人也称之为“花糕”。这道改良后的鱼糕菜品，不仅风味更加浓郁，更成为了荆州一带红白喜事宴席上不可或缺的头道菜。荆州鱼糕已经超越了单纯的饮食习惯而积淀成为一种独具特色的地方民俗文化。鱼糕谐音“余高”，寓意“年年有余，步步高升”。千百年来在荆州一带，逢年过节、婚丧嫁娶、喜庆宴会，鱼糕都是宴请宾客必须有的一道大菜，并有“无酒不成宴，无糕不成席”的说法。

===参考文献===
[1] 荆州市商务局。楚味荆州 [M]. 武汉：湖北科学技术出版社，2020.

[2] 张卫平。荆楚饮食文化精粹 [M]. 武汉：湖北人民出版社，2021.

[3] 湖北省人民政府外事办公室. Jingzhou Tourism 2018: Local Food of Jingzhou (EB/OL). (2015-07-09)[2025-12-29].

[4] 百度百科。荆州鱼糕 [EB/OL]. (更新日期：2025-06-11)[引用日期：2025-12-29]. https://baike.baidu.com/item/荆州鱼糕.

===术语===
荆州鱼糕 Jingzhou Fish Cake

省级非物质文化遗产 Provincial Intangible Cultural Heritage

国家地理标志产品 National Geographical Indication Product

鱼米之乡 a land of fish and rice

鱼糜fish paste

宫廷名菜 royal court dish

宴席头菜signature banquet first course

杂烩丸子assorted meatballs

===问题===
1. 荆州鱼糕被称为荆楚饮食文化核心符号，关键原因是什么？

2. 荆州盛产鱼糕的先天条件是什么？

3. 荆州鱼糕谐音是什么，有什么吉祥寓意？

4. 荆州鱼糕相传由谁所创，历史上曾是哪个时期的宫廷菜？

5. 制作荆州鱼糕首选什么原材料？

6. 手工搅打鱼糜的关键要求是什么？

===答案===
1. 因它“食鱼不见鱼”的精妙口感和“无糕不成席”的民俗地位。

2. 地处江汉平原、河湖密布，是鱼米之乡，自古盛产鱼。

3. 谐音“余高”，寓意年年有余、步步高升。

4. 相传为舜帝妃子女英所创；春秋战国至清朝均为宫廷菜。

5. 首选长江流域7-8斤鲜活草鱼、青鱼。

6. 需顺一个方向搅打至鱼糜粘稠上劲、蓬松有弹性。

User:Weng Lanlin

2025-12-28T08:25:12Z

Weng Lanlin: /* References */

Weng Lanlin is a Master's student in English Translation at Hunan Normal University. Her student ID is 202570081712. She previously graduated from Fujian Agriculture and Forestry University. In her Chinese Language and Culture course, she has chosen to explore the "Cha Bai Xi" as her research topic, delving into its historical significance and social implications.

==Final Exam Paper==

===Nanyin Music===

====Introduction====
Nanyin, also known as Nan Qu, Nan Yue, Nan Guan, and Xian Guan, is an ancient musical genre originating from the Quanzhou region of Fujian Province. Performed in the southern fujian dialect, it boasts a history spanning over a thousand years. Nanyin is primarily popular in the three cities of Xiamen, Zhangzhou, and Quanzhou in southern Fujian, along with their respective counties. The musical system of Nanyin preserves traditional ancient folk singing techniques dating back to before the Tang Dynasty, while integrating the local musical characteristics of southern Fujian. It embodies the linguistic, cultural, and aesthetic traits of the Minnan region. Combining both vocal and instrumental elements, it stands as one of China’s oldest surviving musical genres and is hailed as a “living fossil of ancient Chinese music.”

====Origin and Historical Development====

There are no explicit records in historical documents regarding the origins of Nanyin. Numerous folk theories exist: 1) Nanyin emerged from the integration of Tang Dynasty court music with local folk music of southern Fujian; 2) Nanyin was brought to Fujian by the brothers Wang Chao and Wang Shenzhi. Later, through scholarly research, it is generally accepted that Nanyin was formed around the Song Dynasty. During the Song and Yuan dynasties, Quanzhou served as a pivotal hub for international exchange. Merchants and envoys from China and abroad converged here, fostering the communication of Indian, Southeast Asian, and Arab cultures. This open and inclusive social atmosphere not only preserved the local traditions of ritual music but also infused them with foreign cultural elements. Consequently, Nanyin evolved into a unique musical system that harmoniously blended classical heritage with regional characteristics while maintaining its orthodoxy.

Nanyin shares certain roots with music from the Tang Dynasty and earlier periods. It preserves many songs or qupaiming with identical names to those from the Tang Dynasty and earlier periods, such as Liangzhou Song, Ziye Song, and Autumn in the Han Palace Song. Nanyin had already taken shape by the Ming Dynasty. Woodblock-printed editions from the Ming Dynasty published a total of 259 Nanyin melodies, along with the Nanyin Collection and numerous Nanyin troupes of varying sizes. During the Qing Dynasty, Nanyin experienced further development, producing various works with diverse themes. Its repertoire extended beyond traditional subjects like love and family harmony to include pieces satirizing social institutions. It can be said that in the Qing Dynasty, households throughout southern Fujian performed Nanyin music, creating an unprecedented cultural flourishing.

During the Republic of China era, the “Nan Yue Research Society” emerged to teach Nanyin and also created works promoting resistance against Japanese aggression. After the founding of the People’s Republic of China, Nanyin gradually gained attention from the government and cultural departments. The establishment of research societies, training programs, and performance events breathed new life and vitality into this art form. In 2009, Nanyin was officially inscribed on the Representative List of the Intangible Cultural Heritage of Humanity, successfully transitioning from folk music societies to the international stage.

Deeply rooted in the daily life and folk beliefs of southern Fujian region, Nanyin’s transmission has maintained its artistic integrity through dynastic changes and periods of war and turmoil. Continuously passed down to the present day, it has become a cultural treasure cherished locally, nationally, and even globally.

====Artistic Characteristics and Main Types====
Nanyin consists of three major components: the “Dapu”, “Scattered Melodies or Sanqu”, and “Zhitao,” commonly referred to as “Pu,” “Qu,” and “Zhi.” These three musical forms encompass both vocal and instrumental pieces, featuring rich content and a complete system.

“Zhi” refers to a suite of pieces featuring lyrics, music scores, and pipa accompaniment, drawing inspiration from historical romances and tales of loyalty and filial piety. Typically performed as instrumental music, it is rarely adapted for vocal renditions.
“Pu” denotes purely instrumental compositions. “Dapu” includes titles, music scores, and pipa accompaniment, with each performance generally lasting ten to twelve minutes. Representative works include Four Seasons, Plum Blossom Exercise, Eight Steeds, and Hundred Birds Return to Nest.

“Qu”, the most numerous form compared to “Zhi” and “Pu,” are vocal pieces featuring both music scores and lyrics. The contents include lyrical, narrative, and descriptive themes, making them the most common form in Nanyin performances.

====Instruments and Performance Manners====
The instruments used in Nanyin performances include the pipa (a four-stringed lute), dongxiao (a vertical bamboo flute), erxian (a two-stringed fiddle), sanxian (a three-stringed fiddle), and clappers. Among these, the pipa employs the Tang Dynasty-style curved-neck design which can be called Qu Xiang Lute, and is played while held horizontally; the dongxiao follows the Tang Dynasty’s “shakuhachi” tradition and serves as the primary melodic instrument.

The primary performance manners of Nanyin are divided into “stringed and woodwind ensemble” and “percussion ensemble”—they can also be called Shàngsìguǎn and Xiàsìguǎn respectively in pinyin, commonly known as “Five Notes” or “Ten Notes.” Performers typically adopt a seated posture. During indoor performances, musicians sit in a plum blossom or arc formation, with the singer (holding the clapper) positioned centrally to embody Confucian principles. For outdoor performances, after one singer completes the verse, one reverently passes the clapper to the next performer, who continues the sequence song by song, concluding with the Dapu.

====Performance Characteristics====
All formal Nanyin performances are sung exclusively in minnan dialect, with tones and finals retaining Middle Chinese features, endowing the music with a strong regional character. Following ancient tradition, performances begin with the instrumental prelude “Zhi,” proceed to the “Qu” vocal section, and conclude with the “Pu” instrumental finale. The singing of Nanyin are elegant with classic simplicity, performed at a leisurely pace to create a subtle and profound musical atmosphere. Serving both social and ritual functions, Nanyin is primarily performed during ancestral worship, temple fairs, weddings, funerals, and other occasions, forming an important pillar of spiritual life for the people of Southern Fujian.

====Representative Repertoire====
The lyrics of Nanyin primarily draw from the tales of Tang Legends, Storytelling Scripts, and character stories of dramas in the Song, Yuan and Ming dynasties, focusing on descriptions of natural landscapes and expressions of inner emotions. Representative works include The Steep Mountain, Leaving the Hanguan, Breaking the Pledge with You, and Cai Wenji Returns to Han.

====Contemporary Inheritance and Development====
The primary inheritors of Nanyin are mostly seniors over sixty. Though highly skilled, their physical strength and energy cannot sustain the demands of daily training and stage performances. Moreover, with the rapid development of contemporary society and economy, young people’s aesthetic preferences have shifted, increasingly favoring popular music. The preservation and development of Nanyin are now urgent.

To ensure its continuity, the Quanzhou Municipal Government launched an action plan in 2004 to protect and revitalize Nanyin. This initiative involves the Bureau of Culture, academy of arts, and research societies in direct preservation efforts. Various measures are now underway to promote this ancient art form, including establishing teaching institutions, organizing performances and competitions, and documenting the music through recordings and archives.

Today, beyond Quanzhou, Zhangzhou, Xiamen, and the regions of Hong Kong, Macao, and Taiwan, Nanyin has spread to Southeast Asian countries like Singapore, the Philippines, Malaysia, and Thailand. It has become a spiritual bond connecting Chinese people both domestically and abroad, playing a positive role in enhancing national identity.

At present, Nanyin must explore a new positioning within modern society. While upholding its traditional essence, it must also embrace contemporary changes, building bridges through approaches that resonate with younger generations. This will encourage them to actively engage with traditional culture and experience its enduring appeal.

===References===
1. WangYaohua王耀华. (2008). 中国南音的保护与传承 [The Preservation and Transmission of Chinese Nanyin]. 福建艺术[Fujian Arts], (01), 5-11.

2. CNR News央广网. (2025). 知否·年味｜聆听新年中的千年旋律——泉州南音 [The Flavor of the New Year: Listening to the Millennia-Old Melodies of the New Year—Quanzhou Nanyin]. https://news.cnr.cn/local/dftj/20250202/t20250202_527059413.shtml.

3. Baidu Baike 百度百科. 南音[Nanyin] [EB/OL].

4. 中国非物质文化遗产网·中国非物质文化遗产数字博物馆 [China National Intangible Cultural Heritage Website: China National Intangible Cultural Heritage Museum]. 南音 [Nanyin] [EB/OL]. https://www.ihchina.cn/directory_details/11814.

5. XieYuanyuan谢媛媛, Lin Xiaowen林小闻, Hu Xing胡星. (2025). 活态传承广域传播——以泉州南音文化为例 [Living Heritage, Wide-Reaching Transmission: The Case of Quanzhou Nanyin Culture]. 黑河学院学报 [Journal of Heihe University], 16 (12), 119-122.

6. Wang Yueyang王悦阳. (2021). 南音传唱:唐宋大曲,当今之音 [The Echoes of Nanyin: Tang and Song Dynasty Melodies, Sounds of Today]. 新民周刊 [Xinmin Weekly], (29), 58-63.

===Terms===
Nanyin 南音

Nan Qu 南曲

Nan Yue 南乐

Nan Guan 南管

Xian Guan 弦管

songs or qupaiming 曲牌名

Zhi/ Zhitao 指；指套

Pu/ Dapu 谱；大谱

Qu/ Sanqu or Scattered Melodies 曲；散曲

the pipa (a four-stringed lute) 琵琶

dongxiao (a vertical bamboo flute) 洞箫

erxian (a two-stringed fiddle) 二弦

sanxian (a three-stringed fiddle) 三弦

clappers 拍板

Qu Xiang Lute 曲项琵琶

Five Notes 五音

minnan dialect; southern fujian dialect 闽南方言

finals 韵母

===Questions===
1. When did Nanyin music roughly emerge historically?

2. Briefly describe the main differences between Nanyin’s three core components: “Zhi”, “Pu” and “Qu”.

3. What are the historical origins of Nanyin instruments such as the pipa and dongxiao?

4. What are the performance characteristics of Nanyin?

5. What efforts has the government made to preserve and develop Nanyin?

===Answers===
1. According to scholarly research, Nanyin was matured around the Song Dynasty.

2. “Zhi” refers to a suite of pieces with lyrics, music scores, and pipa accompaniment, typically performed as instrumental music rather than vocal compositions. “Pu” refers purely instrumental pieces with titles, intended for performance. “Qu” are vocal pieces featuring both music scores and lyrics, covering diverse themes and existing in large numbers.

3. The pipa used in Nanyin follows the Tang Dynasty design of the Qu Xiang Lute, and is played while held horizontally; the dongxiao retains the Tang Dynasty’s “shakuhachi” form.

4. All Nanyin performances are sung in the minnan dialect. Following ancient tradition, the performance begins with “Zhi”, followed by the singing of “qu”, and concludes with the performance of the “Pu”.

5. The Quanzhou Municipal Government’s efforts to preserve and develop Nanyin include: formulating an action plan for the protection and revitalization of Nanyin in 2004; organizing the participation of institutions such as the Bureau of Culture, academy of arts, and research societies; and implementing measures including establishing schools for teaching Nanyin, organizing performances and competitions, and recording and archiving the music.

===南音===

====总体介绍====

南音，又称“南曲”、“南乐”、“南管”、“弦管”，是发源于福建泉州地区，以闽南方言演唱，具有千年历史的古老乐种。南音主要流行于福建南部的厦门、漳州、泉州三市及所属各县城。南音的音乐体系保留了唐代以前传统古老的民族唱法，并融合了闽南本地的音乐特色，体现了闽南地区的语言、文化、审美特点。它集唱、奏于一体，是中国现存最古老的乐种之一，被誉为“中国古代音乐的活化石”。

====历史起源与发展====

文献资料并没有关于南音起源的明确记载。民间说法众多：1）南音是唐代宫廷音乐与闽南当地民间音乐的融合；2）南音是王潮、王审知兄弟带来福建的。后来经过专家学者的考证，一般认为南音大约形成于宋代。泉州是宋元时期对外交流的枢纽，中外商旅、使节汇聚于此，印度、东南亚及阿拉伯文化在此交流碰撞，这种开放包容的社会氛围，非但没有冲淡当地的礼乐传统，反为其注入外来文化因素，使南音在坚守正统的同时，吸纳外来元素，形成了兼具古典与地方特色的独特音乐体系。

南音与唐代及唐以前的音乐有一定的渊源。南音中保留了许多与唐朝及唐以前同名的曲牌，如《梁州曲》、《子夜歌》、《汉宫秋》等。南音在明代已成型。明代有关于南音的木刻刊本，共刊了259首南音曲，更有《南音曲集》和大大小小的南音班社。清代，南音得到进一步发展，作品众多且题材丰富。南音曲目的题材不只是关于爱情、家庭和睦等传统主题，更有讽刺社会制度的曲目。可以说，在清代，闽南一带千家万户皆会演奏丝竹管弦，盛况空前。

民国时期也出现了传授南音技艺的“南乐研究会”，也创作了宣传抗日的作品。新中国成立后，南音逐渐受到政府和文化部门的重视，成立研究社、开办培训班、举办演唱活动等，使南音焕发出新的生机与活力。2009年，南音正式列入人类非物质文化遗产代表作名录，成功从民间乐社走向了国际舞台。

南音的传承深深植根于闽南社会的日常生活和民俗信仰，使其在王朝更迭和战争动荡的环境中仍能维系艺术完整性，并不断地传承至今，成为当地、国家甚至世界性的文化瑰宝。

====艺术特征与主要类型====

南音由“大谱”、“散曲”和“指套”三大部分组成，一般俗称为“指”“谱”“曲”。这三大乐曲既有用于演唱的，也有用于演奏的，内容丰富，体系完整。

“指”，即“指套”，是一种有词、谱、琵琶弹奏的套曲，取材于历史演义和忠孝故事。通常只用于器乐演奏，少用于声乐演唱。原有三十六套，后来发展至五十套。

“谱”，即“大谱”，为纯器乐曲。“大谱”有标题、曲谱和琵琶弹奏，每套谱一般演奏十至十二分钟左右。大谱原有十二套，后发展至十六套，代表性作品有《四时景》《梅花操》《八骏马》《百鸟归巢》。

“曲”，即“散曲”，与“指”“谱”相比，数量最为庞大，是带有演唱的曲子，有谱、有词。一般由歌唱者执拍板坐唱，也可手抱琵琶自弹自唱，内容涵盖抒情、叙事、写景等，是南音表演中最常见的形式。

====乐器与演奏形式====
南音的演奏乐器包括琵琶、洞箫、二弦、三弦和拍板。其中，琵琶采用唐代形制的曲项琵琶，需横抱演奏；洞箫沿用唐代的“尺八”遗制，是主要的旋律乐器。

南音的主要演奏形式分为“上四管”和“下四管”，俗称“五音”或“十音”，通常演奏者需采用坐奏的方式。室内演奏时，演奏者以“梅花形”或弧形围坐，演唱者（执拍板者）居中演唱，体现了儒家精神；室外演奏时，一位演唱者唱完需把拍板恭敬地递给第二个人，逐首接连地唱下去，最后是奏大谱结束。

====演唱特色====
南音的正规演唱一律以闽南方言演唱，声调韵母保留中古汉语特征，赋予了音乐强烈的地方特色。依照古例，演唱必先吹奏“指套”，再唱“散曲”，最后以奏“大谱”结束。南音唱腔古朴典雅，演唱速度舒缓，营造出含蓄、深邃的音乐意境。南音兼具社交和信仰功能，主要在祭祖、庙会、婚丧等场合演唱，是闽南人重要的精神支柱。

====代表性曲目====
南音曲词的内容主要取材于唐传奇、话本和宋元及明代戏剧的人物故事，以描写自然景观和抒发内心情感为主。代表作品有《山险峻》《出汉关》《共君断约》《文姬归汉》等。

====当代传承与发展====
南音的一线传承人多为六十岁以上的老人，虽技艺精湛，但体力和精力并不能支撑他们经历日夜训练和登台演出；而且，因当代社会和经济的飞速发展，年轻人审美转变，更加追求音乐的流行性。南音的传承与发展迫在眉睫。

为了南音的传承和持续发展，泉州市政府已于2004年制定了保护与振兴南音的行动计划，组织文化局、艺术学院、研究社等直接参与保护和传承南音的工作。目前，已采取各种措施来推广这种古老的艺术形式，如建立教授南音的学校、组织演出和比赛，并对音乐进行录制和存档。

现今，除了在泉州、漳州、厦门及其港澳台地区外，南音还传播到了新加坡、菲律宾、马来西亚、泰国等东南亚国家，成为维系国内国外中国人民的精神纽带，对增进民族认同感也起到了积极作用。

当下，南音需要在现代社会中探索新的定位，既坚守传统精髓，也需要拥抱时代变化，用年轻人喜欢的方式搭起桥梁，让他们主动靠近传统文化，感受文化的魅力。

User:Weng Lanlin

2025-12-28T08:17:09Z

Weng Lanlin:

Weng Lanlin is a Master's student in English Translation at Hunan Normal University. Her student ID is 202570081712. She previously graduated from Fujian Agriculture and Forestry University. In her Chinese Language and Culture course, she has chosen to explore the "Cha Bai Xi" as her research topic, delving into its historical significance and social implications.

==Final Exam Paper==

===Nanyin Music===

====Introduction====
Nanyin, also known as Nan Qu, Nan Yue, Nan Guan, and Xian Guan, is an ancient musical genre originating from the Quanzhou region of Fujian Province. Performed in the southern fujian dialect, it boasts a history spanning over a thousand years. Nanyin is primarily popular in the three cities of Xiamen, Zhangzhou, and Quanzhou in southern Fujian, along with their respective counties. The musical system of Nanyin preserves traditional ancient folk singing techniques dating back to before the Tang Dynasty, while integrating the local musical characteristics of southern Fujian. It embodies the linguistic, cultural, and aesthetic traits of the Minnan region. Combining both vocal and instrumental elements, it stands as one of China’s oldest surviving musical genres and is hailed as a “living fossil of ancient Chinese music.”

====Origin and Historical Development====

There are no explicit records in historical documents regarding the origins of Nanyin. Numerous folk theories exist: 1) Nanyin emerged from the integration of Tang Dynasty court music with local folk music of southern Fujian; 2) Nanyin was brought to Fujian by the brothers Wang Chao and Wang Shenzhi. Later, through scholarly research, it is generally accepted that Nanyin was formed around the Song Dynasty. During the Song and Yuan dynasties, Quanzhou served as a pivotal hub for international exchange. Merchants and envoys from China and abroad converged here, fostering the communication of Indian, Southeast Asian, and Arab cultures. This open and inclusive social atmosphere not only preserved the local traditions of ritual music but also infused them with foreign cultural elements. Consequently, Nanyin evolved into a unique musical system that harmoniously blended classical heritage with regional characteristics while maintaining its orthodoxy.

Nanyin shares certain roots with music from the Tang Dynasty and earlier periods. It preserves many songs or qupaiming with identical names to those from the Tang Dynasty and earlier periods, such as Liangzhou Song, Ziye Song, and Autumn in the Han Palace Song. Nanyin had already taken shape by the Ming Dynasty. Woodblock-printed editions from the Ming Dynasty published a total of 259 Nanyin melodies, along with the Nanyin Collection and numerous Nanyin troupes of varying sizes. During the Qing Dynasty, Nanyin experienced further development, producing various works with diverse themes. Its repertoire extended beyond traditional subjects like love and family harmony to include pieces satirizing social institutions. It can be said that in the Qing Dynasty, households throughout southern Fujian performed Nanyin music, creating an unprecedented cultural flourishing.

During the Republic of China era, the “Nan Yue Research Society” emerged to teach Nanyin and also created works promoting resistance against Japanese aggression. After the founding of the People’s Republic of China, Nanyin gradually gained attention from the government and cultural departments. The establishment of research societies, training programs, and performance events breathed new life and vitality into this art form. In 2009, Nanyin was officially inscribed on the Representative List of the Intangible Cultural Heritage of Humanity, successfully transitioning from folk music societies to the international stage.

Deeply rooted in the daily life and folk beliefs of southern Fujian region, Nanyin’s transmission has maintained its artistic integrity through dynastic changes and periods of war and turmoil. Continuously passed down to the present day, it has become a cultural treasure cherished locally, nationally, and even globally.

====Artistic Characteristics and Main Types====
Nanyin consists of three major components: the “Dapu”, “Scattered Melodies or Sanqu”, and “Zhitao,” commonly referred to as “Pu,” “Qu,” and “Zhi.” These three musical forms encompass both vocal and instrumental pieces, featuring rich content and a complete system.

“Zhi” refers to a suite of pieces featuring lyrics, music scores, and pipa accompaniment, drawing inspiration from historical romances and tales of loyalty and filial piety. Typically performed as instrumental music, it is rarely adapted for vocal renditions.
“Pu” denotes purely instrumental compositions. “Dapu” includes titles, music scores, and pipa accompaniment, with each performance generally lasting ten to twelve minutes. Representative works include Four Seasons, Plum Blossom Exercise, Eight Steeds, and Hundred Birds Return to Nest.

“Qu”, the most numerous form compared to “Zhi” and “Pu,” are vocal pieces featuring both music scores and lyrics. The contents include lyrical, narrative, and descriptive themes, making them the most common form in Nanyin performances.

====Instruments and Performance Manners====
The instruments used in Nanyin performances include the pipa (a four-stringed lute), dongxiao (a vertical bamboo flute), erxian (a two-stringed fiddle), sanxian (a three-stringed fiddle), and clappers. Among these, the pipa employs the Tang Dynasty-style curved-neck design which can be called Qu Xiang Lute, and is played while held horizontally; the dongxiao follows the Tang Dynasty’s “shakuhachi” tradition and serves as the primary melodic instrument.

The primary performance manners of Nanyin are divided into “stringed and woodwind ensemble” and “percussion ensemble”—they can also be called Shàngsìguǎn and Xiàsìguǎn respectively in pinyin, commonly known as “Five Notes” or “Ten Notes.” Performers typically adopt a seated posture. During indoor performances, musicians sit in a plum blossom or arc formation, with the singer (holding the clapper) positioned centrally to embody Confucian principles. For outdoor performances, after one singer completes the verse, one reverently passes the clapper to the next performer, who continues the sequence song by song, concluding with the Dapu.

====Performance Characteristics====
All formal Nanyin performances are sung exclusively in minnan dialect, with tones and finals retaining Middle Chinese features, endowing the music with a strong regional character. Following ancient tradition, performances begin with the instrumental prelude “Zhi,” proceed to the “Qu” vocal section, and conclude with the “Pu” instrumental finale. The singing of Nanyin are elegant with classic simplicity, performed at a leisurely pace to create a subtle and profound musical atmosphere. Serving both social and ritual functions, Nanyin is primarily performed during ancestral worship, temple fairs, weddings, funerals, and other occasions, forming an important pillar of spiritual life for the people of Southern Fujian.

====Representative Repertoire====
The lyrics of Nanyin primarily draw from the tales of Tang Legends, Storytelling Scripts, and character stories of dramas in the Song, Yuan and Ming dynasties, focusing on descriptions of natural landscapes and expressions of inner emotions. Representative works include The Steep Mountain, Leaving the Hanguan, Breaking the Pledge with You, and Cai Wenji Returns to Han.

====Contemporary Inheritance and Development====
The primary inheritors of Nanyin are mostly seniors over sixty. Though highly skilled, their physical strength and energy cannot sustain the demands of daily training and stage performances. Moreover, with the rapid development of contemporary society and economy, young people’s aesthetic preferences have shifted, increasingly favoring popular music. The preservation and development of Nanyin are now urgent.

To ensure its continuity, the Quanzhou Municipal Government launched an action plan in 2004 to protect and revitalize Nanyin. This initiative involves the Bureau of Culture, academy of arts, and research societies in direct preservation efforts. Various measures are now underway to promote this ancient art form, including establishing teaching institutions, organizing performances and competitions, and documenting the music through recordings and archives.

Today, beyond Quanzhou, Zhangzhou, Xiamen, and the regions of Hong Kong, Macao, and Taiwan, Nanyin has spread to Southeast Asian countries like Singapore, the Philippines, Malaysia, and Thailand. It has become a spiritual bond connecting Chinese people both domestically and abroad, playing a positive role in enhancing national identity.

At present, Nanyin must explore a new positioning within modern society. While upholding its traditional essence, it must also embrace contemporary changes, building bridges through approaches that resonate with younger generations. This will encourage them to actively engage with traditional culture and experience its enduring appeal.

===References===
1. WangYaohua王耀华. (2008). 中国南音的保护与传承 [The Preservation and Transmission of Chinese Nanyin]. 福建艺术[Fujian Arts], (01), 5-11.

2. CNR News央广网. (2025). 知否·年味｜聆听新年中的千年旋律——泉州南音 [The Flavor of the New Year: Listening to the Millennia-Old Melodies of the New Year—Quanzhou Nanyin]. https://news.cnr.cn/local/dftj/20250202/t20250202_527059413.shtml.

3. Baidu Baike 百度百科. 南音[Nanyin] [EB/OL].

4. 中国非物质文化遗产网·中国非物质文化遗产数字博物馆 [China National Intangible Cultural Heritage Website: China National Intangible Cultural Heritage Museum]. 南音 [Nanyin] [EB/OL].

5. XieYuanyuan谢媛媛, Lin Xiaowen林小闻, Hu Xing胡星. (2025). 活态传承广域传播——以泉州南音文化为例 [Living Heritage, Wide-Reaching Transmission: The Case of Quanzhou Nanyin Culture]. 黑河学院学报 [Journal of Heihe University], 16 (12), 119-122.

6. Wang Yueyang王悦阳. (2021). 南音传唱:唐宋大曲,当今之音 [The Echoes of Nanyin: Tang and Song Dynasty Melodies, Sounds of Today]. 新民周刊 [Xinmin Weekly], (29), 58-63.

===Terms===
Nanyin 南音

Nan Qu 南曲

Nan Yue 南乐

Nan Guan 南管

Xian Guan 弦管

songs or qupaiming 曲牌名

Zhi/ Zhitao 指；指套

Pu/ Dapu 谱；大谱

Qu/ Sanqu or Scattered Melodies 曲；散曲

the pipa (a four-stringed lute) 琵琶

dongxiao (a vertical bamboo flute) 洞箫

erxian (a two-stringed fiddle) 二弦

sanxian (a three-stringed fiddle) 三弦

clappers 拍板

Qu Xiang Lute 曲项琵琶

Five Notes 五音

minnan dialect; southern fujian dialect 闽南方言

finals 韵母

===Questions===
1. When did Nanyin music roughly emerge historically?

2. Briefly describe the main differences between Nanyin’s three core components: “Zhi”, “Pu” and “Qu”.

3. What are the historical origins of Nanyin instruments such as the pipa and dongxiao?

4. What are the performance characteristics of Nanyin?

5. What efforts has the government made to preserve and develop Nanyin?

===Answers===
1. According to scholarly research, Nanyin was matured around the Song Dynasty.

2. “Zhi” refers to a suite of pieces with lyrics, music scores, and pipa accompaniment, typically performed as instrumental music rather than vocal compositions. “Pu” refers purely instrumental pieces with titles, intended for performance. “Qu” are vocal pieces featuring both music scores and lyrics, covering diverse themes and existing in large numbers.

3. The pipa used in Nanyin follows the Tang Dynasty design of the Qu Xiang Lute, and is played while held horizontally; the dongxiao retains the Tang Dynasty’s “shakuhachi” form.

4. All Nanyin performances are sung in the minnan dialect. Following ancient tradition, the performance begins with “Zhi”, followed by the singing of “qu”, and concludes with the performance of the “Pu”.

5. The Quanzhou Municipal Government’s efforts to preserve and develop Nanyin include: formulating an action plan for the protection and revitalization of Nanyin in 2004; organizing the participation of institutions such as the Bureau of Culture, academy of arts, and research societies; and implementing measures including establishing schools for teaching Nanyin, organizing performances and competitions, and recording and archiving the music.

===南音===

====总体介绍====

南音，又称“南曲”、“南乐”、“南管”、“弦管”，是发源于福建泉州地区，以闽南方言演唱，具有千年历史的古老乐种。南音主要流行于福建南部的厦门、漳州、泉州三市及所属各县城。南音的音乐体系保留了唐代以前传统古老的民族唱法，并融合了闽南本地的音乐特色，体现了闽南地区的语言、文化、审美特点。它集唱、奏于一体，是中国现存最古老的乐种之一，被誉为“中国古代音乐的活化石”。

====历史起源与发展====

文献资料并没有关于南音起源的明确记载。民间说法众多：1）南音是唐代宫廷音乐与闽南当地民间音乐的融合；2）南音是王潮、王审知兄弟带来福建的。后来经过专家学者的考证，一般认为南音大约形成于宋代。泉州是宋元时期对外交流的枢纽，中外商旅、使节汇聚于此，印度、东南亚及阿拉伯文化在此交流碰撞，这种开放包容的社会氛围，非但没有冲淡当地的礼乐传统，反为其注入外来文化因素，使南音在坚守正统的同时，吸纳外来元素，形成了兼具古典与地方特色的独特音乐体系。

南音与唐代及唐以前的音乐有一定的渊源。南音中保留了许多与唐朝及唐以前同名的曲牌，如《梁州曲》、《子夜歌》、《汉宫秋》等。南音在明代已成型。明代有关于南音的木刻刊本，共刊了259首南音曲，更有《南音曲集》和大大小小的南音班社。清代，南音得到进一步发展，作品众多且题材丰富。南音曲目的题材不只是关于爱情、家庭和睦等传统主题，更有讽刺社会制度的曲目。可以说，在清代，闽南一带千家万户皆会演奏丝竹管弦，盛况空前。

民国时期也出现了传授南音技艺的“南乐研究会”，也创作了宣传抗日的作品。新中国成立后，南音逐渐受到政府和文化部门的重视，成立研究社、开办培训班、举办演唱活动等，使南音焕发出新的生机与活力。2009年，南音正式列入人类非物质文化遗产代表作名录，成功从民间乐社走向了国际舞台。

南音的传承深深植根于闽南社会的日常生活和民俗信仰，使其在王朝更迭和战争动荡的环境中仍能维系艺术完整性，并不断地传承至今，成为当地、国家甚至世界性的文化瑰宝。

====艺术特征与主要类型====

南音由“大谱”、“散曲”和“指套”三大部分组成，一般俗称为“指”“谱”“曲”。这三大乐曲既有用于演唱的，也有用于演奏的，内容丰富，体系完整。

“指”，即“指套”，是一种有词、谱、琵琶弹奏的套曲，取材于历史演义和忠孝故事。通常只用于器乐演奏，少用于声乐演唱。原有三十六套，后来发展至五十套。

“谱”，即“大谱”，为纯器乐曲。“大谱”有标题、曲谱和琵琶弹奏，每套谱一般演奏十至十二分钟左右。大谱原有十二套，后发展至十六套，代表性作品有《四时景》《梅花操》《八骏马》《百鸟归巢》。

“曲”，即“散曲”，与“指”“谱”相比，数量最为庞大，是带有演唱的曲子，有谱、有词。一般由歌唱者执拍板坐唱，也可手抱琵琶自弹自唱，内容涵盖抒情、叙事、写景等，是南音表演中最常见的形式。

====乐器与演奏形式====
南音的演奏乐器包括琵琶、洞箫、二弦、三弦和拍板。其中，琵琶采用唐代形制的曲项琵琶，需横抱演奏；洞箫沿用唐代的“尺八”遗制，是主要的旋律乐器。

南音的主要演奏形式分为“上四管”和“下四管”，俗称“五音”或“十音”，通常演奏者需采用坐奏的方式。室内演奏时，演奏者以“梅花形”或弧形围坐，演唱者（执拍板者）居中演唱，体现了儒家精神；室外演奏时，一位演唱者唱完需把拍板恭敬地递给第二个人，逐首接连地唱下去，最后是奏大谱结束。

====演唱特色====
南音的正规演唱一律以闽南方言演唱，声调韵母保留中古汉语特征，赋予了音乐强烈的地方特色。依照古例，演唱必先吹奏“指套”，再唱“散曲”，最后以奏“大谱”结束。南音唱腔古朴典雅，演唱速度舒缓，营造出含蓄、深邃的音乐意境。南音兼具社交和信仰功能，主要在祭祖、庙会、婚丧等场合演唱，是闽南人重要的精神支柱。

====代表性曲目====
南音曲词的内容主要取材于唐传奇、话本和宋元及明代戏剧的人物故事，以描写自然景观和抒发内心情感为主。代表作品有《山险峻》《出汉关》《共君断约》《文姬归汉》等。

====当代传承与发展====
南音的一线传承人多为六十岁以上的老人，虽技艺精湛，但体力和精力并不能支撑他们经历日夜训练和登台演出；而且，因当代社会和经济的飞速发展，年轻人审美转变，更加追求音乐的流行性。南音的传承与发展迫在眉睫。

为了南音的传承和持续发展，泉州市政府已于2004年制定了保护与振兴南音的行动计划，组织文化局、艺术学院、研究社等直接参与保护和传承南音的工作。目前，已采取各种措施来推广这种古老的艺术形式，如建立教授南音的学校、组织演出和比赛，并对音乐进行录制和存档。

现今，除了在泉州、漳州、厦门及其港澳台地区外，南音还传播到了新加坡、菲律宾、马来西亚、泰国等东南亚国家，成为维系国内国外中国人民的精神纽带，对增进民族认同感也起到了积极作用。

当下，南音需要在现代社会中探索新的定位，既坚守传统精髓，也需要拥抱时代变化，用年轻人喜欢的方式搭起桥梁，让他们主动靠近传统文化，感受文化的魅力。