A New Treatise on the Southern Tune's Weisheng——With Special Reference to The Peony Pavilion
As one of the most common kinds of tunes in traditional Chinese opera,weisheng(Coda)is of extraordinary significance in ensuring the integrity of the number of tune sets and the construction of opera theories.The weisheng's paradigm of"three verses and twelve beats"became a fixed frame in the field of southern tunes during the Ming dynasty.Since then,a large number of theories on weisheng have emerged,highlighting theorists'theoretical thinking and consciousness.However,in selecting tunes of ci poems,composers often gave differential treatment to the weisheng of diverse palace tunes.Differences mainly manifested themselves in three aspects,such as mode,sanban(opera section in free rhythm),and j ieyin.There is no doubt that southern tunes'weishengs create a divide between theorists and composers and thus illustrate the fundamental tension that exists between theory and practice.Exploring the balance between theory and practice in the spirit of dialectic cannot only clarify the traditional theoretical paradigm but also enrich the study of southern tunes'weisheng within the visual pattern of opera music.
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