Heluo dagu 河洛大鼓

时间：2006年
Time: 2006
类别：曲艺
Category: Recitative, story-telling
地区：河南
Region: Henan Province
编号：Ⅴ—12
Ref. No.: V-12
申报地区或单位：河南省洛阳市
Nominating unit[s]: Luoyang City, Henan Province
河洛大鼓，起源于清末民初，是在洛阳琴书的基础上发展起来的。洛阳琴书旧称“琴音”，早期的伴唱乐器是我国传统的七弦古琴。琴音”在官宦、商绅和文人之间传唱，词曲典雅，流入民间后，改称“琴书”，其琴也改为扬琴。洛阳琴书早期演唱方式多为闭目坐唱，其唱腔委婉细腻，字少腔多，节奏缓慢拖沓，其演唱书目也多为才子佳人悲欢离合的中、短篇故事。19世纪初，河洛大鼓由洛阳琴书和“单大鼓”结合，并吸收了河南坠子的一些曲调而形成。其早期被人们称为“大鼓书”、“鼓碰弦”、“钢板书”。20世纪50年代初定名为河洛大鼓。唱腔属“板腔体”，板式丰富，方便演说各类书目。在传统节目中，以公案书、武侠书和袍带书等长篇书目为多。
Heluo dagu came into being in the late Qing Dynasty and the early Republic of China. It evolved from the Luoyang Qinshu. Luoyang Qinshu was named as “Qinyin”, an accompanying instrument or seven-stringed instrument (or Qixian Guqin) used in ancient China. “Qinyin” was sung among officials, businessmen and literati, colloquially known as “Qinshu” among ordinary people, featuring elegant words and melody. Qixian Guqin was replaced by the dulcimer (a stringed musical instrument). Initially, it was sung by a signer seated with eyes closed. It is characterized by euphemistic and smooth singing style, fewer words yet more aria and dilatory rhythm. Its themes are mostly associated with medium-length and short stories like partings and reunios of gifted scholars and beautiful ladies. At the beginning of the 19th century, Heluo dagu took its current form by combining Luoyang Qinshu with “Dan Da Gu” and adsorbing some tunes of Henan zhuizi (Chinese folk vocal art forms). It was initially called as “Da Gu Shu”, “Gu Peng Xian” and “Gang Ban Shu”, and then in the early 1950s it was officially named as Heluo dagu. It is performed in the “Banqiangti” (a form of traditional Chinese opera music) style, which is very flexible, and which makes it easy to present various subject matters. Most of the traditional programs are long-length stories regarding law cases, swordsmen and emperors.
在河洛大鼓传承过程中，先后出现过许多知名的艺人。第二代传人有“说书状元”之称的张天倍，在洛阳几乎家喻户晓；第三代传人程文和，享誉豫西，并曾代表河南参加全国首届曲代会，一曲《赵云截江》受到国家领导人的赞赏；第四代传人段介平，以及原河南省曲艺团团长王小岳等，都曾独树一帜，闻名遐迩。然而，随着时代的发展变化，洛阳曲艺跌入低谷，许多市、县取消了曲艺团队，曲艺演员大多改行或流入民间，自生自灭。近些年来，一些知名老艺人相继过世，后继乏人，这一在洛阳地区具有代表性的曲艺品种濒临消亡，急待抢救和保护。
As far as inheritance is concerned, there were many famous artisans engaged in Heluo dagu. Zhang Tianbei, the second-generation successor, known as “the best storyteller”, was an almost household name in Luoyang; Chen Wenhe, the third-generation successor, enjoyed prestige all over the western Henan Province. He participated in the First National Quyi (Chinese folk art vocal forms) Congress on behalf of Henan and was praised by national leaders for performing Zhao Yun Chasing Boat (or Zhao Yun Jie Jiang); Duan Jieping, the fourth–generation inheritor, Wang Xiaoyue, the ex-leader of Quyi Troupe of Henan Province and others have all developed schools of their own and have enjoyed widespread renown. However, Luoyang Quyi has been declining as time changes. Quyi troupes have been dismissed in many counties and cities. Most of the Quyi Performers have transferred to other occupations or have to perform on their own in the society without any security. It lacks of qualified successors because in recent years some old famous artists passed away in succession. Hence, urgent measures are required to save and protect this representative folk vocal art form in Luoyang from being lost.
相关传承人：
陆四辈
Inheritor:
Lu Sibei