【亚洲•韩国】板索里非物质文化遗产项目

板索里是朝鲜民族传统表演艺术。板索里是一位唱者伴着鼓手的鼓伴奏，通过“歌”、“说”、“动作”传达戏剧性长篇故事的韩国固有的传统表演艺术。尤其是，作为陪伴朝鲜民族的历史和喜怒哀乐的传统文化的精髓，其独创性得到世界认证，于2003年列入联合国教科文组织《人类口传及无形遗产杰作》。

基本概念

  板索里是“板”和“索里”（韩国语中声音的音译词）的合成词，“板”指的是“人们聚集之所”，“索里”是统称歌谣的浑古的表达方式。因此，“板索里”可以说成是在人们聚集的地方说唱的表演艺术。

板索里为韩国传统表演艺术。一个人清唱，以“sori（歌）”、“aniri （说）”、“ballim（动作）”表现戏剧性长篇故事内容；另一个人则击鼓 伴奏，发出助兴词[1]。

  学者们以“辞说、叙事诗、戏曲、音乐”等各种观点来划分板索里的体裁，这是因为板索里拥有兼备文学、戏剧及音乐因素的综合艺术性面貌。

  另外，由于板索里是由一人承担所有角色的作用，所以不仅要求表现的音域要广，而且在声音的变化上也应该有较深的根基。此外。鼓手因使用无律打击乐器——鼓，只依赖节拍和助兴词来伴揍，所以即使是同样的节拍，也应该有能力根据唱者的说唱，在不同瞬间选择各种不同而最适合的节拍（变彩节拍）进行伴奏。

起源

  对于板索里的起源有很多种说法，但至今仍没有正确的说法，所以推测为各种因素相结合而形成。迄今为止，对板索里的起源主要说法有“巫歌起源说”、“六字拍调起源说”、“广大笑谑之戏起源说”、“板游戏起源说”等。

  “巫歌起源说”的解释是源于在包括朝鲜京畿道南部在内的忠清道、全罗道、庆尚道西部地区的神房曲圈有该地区巫师们的音乐。“广大笑谑之戏起源说”的解释是在从高丽时期开始延续到朝鲜时期末期的宫廷最盛大的年例活动上，有位伶人使用已经存在的南道巫歌的音乐和样式，将传说编成音乐予以说唱为起始，到了朝鲜后期，随着乡傩的废除，伶人们为了生存，努力确保高度的专业性而将其发扬光大。

  “板游戏起源说”则认为板索里源于在朝鲜后期专门嬉戏者为赚钱而进行的游戏——板游戏的主要构成主体，也就是在六字拍调巫乐圈中演唱的流浪艺人——唱优集团所演唱的伶人说唱。

  在研究板索里的众多学者之间最有说服力的就是全罗道地方的“叙事巫歌起源说”。这是因为板索里的类型与朝鲜全罗道地方的音乐相近，而且板索里与叙事巫歌的表演形态在音乐和说混在一起表演上极为相似，所以板索里源于叙事巫歌的见解颇具说服力。

  综上所述，人们普遍认为板索里的音乐部分来源于巫歌，而文学部分则来源于民间传说故事。17世纪末到18 世纪初，反映城市庶民生活的民间传说故事大量出现，在当时迎合大众情绪的於时调、辞说时调、短歌、长杂歌等歌唱形式相继形成的环境中，人们也要求民间传说故事以歌唱的方式表达出来，因此在南道地区一种新的民间说唱形式———板索里应运而生。

历史

  迄今为止发现的最古老的板索里文献是朝鲜英祖30年1754年由刘振汉写成汉诗的《晚华集》中的春香歌。其后在宋晚载的《观优戏》中首次出现板索里十二部的题目。

  之后从18世纪末到19世纪初板索里得以确立，到了19世纪，进入了鼎盛时期。人们将这一时期称为权三得、宋兴录、高寿宽、朴裕全等前期8名唱活动活跃的前期8名唱时代。尤其是，在前期8名唱时代，分为东便制和西便制流派，在音乐性方面更加成熟。因此，前期8名唱时代可以说板索里在外形上还是在艺术性方面均得到了扩张。

  到了朝鲜哲宗时期，朴万顺、李捺致、宋雨龙、金世宗等人的艺术活动活跃，其中8人被称作后期 8名唱。前期8名唱时代，板索里分为东便、西便、中高制等流派，属于各自发展的开始时期，但是后期 8名唱时代可以说是这种流派性特点和音乐特色已具规模，并得到进一步深化的时期。从朝鲜高宗后期开始到日本帝国侵占下的20世纪30年代为一个时期，虽说人人见解不同，但大部分称作宋万甲、李东伯、金昌焕、金昌龙、丁贞烈等人活动的5名唱时代。这个时期的特点是因社会性变动，板索里逐渐衰退，向唱剧和散调等器乐化发展为其特征。

  板索里到了18世纪，才真正成为了一个独立的艺术体裁。在这之前，普通庶民们的响应成了绝对的后盾。据确认，截至当时至少曾有包括《卞钢铁打令》、《壅固执打令》、《裴裨将打令》、《江陵梅花打令》、《雄雉打令》、《曰者打令》、《假神仙打令》、《淑英娘子传》等12部板索里。

  此后，板索里渐渐得到两班们的关心和热爱，逐渐变化成呼应两班嗜好的内容。两班们主要在辞说的润色和改写上倾注了很多关心，到了19世纪后期，高敞的申在孝将口传板索里辞说中的6部直接整理成文字，在树立板索里的体系上做出了巨大贡献。

流派

  进入19世纪，板索里欣赏阶层普遍扩大到了两班和庶民阶层。板索里又因唱者的不同，变得更为成熟，音乐表现也变得更加多样化。名唱们尽情发挥的个性和创意性又成为了独具

特色的音乐特点。就像各地方言不同一样，音乐性也因地而异，而且根据累代传承板索里的家谱，更具独特的特色。后来人们把这种特点按相似的类型予以归纳进行了分类，从而出现了东便制、西便制、中高制的划分。

  但是根据传承地区进行的分类，到了20世纪，因名唱们的活动范围逐渐扩大，其意义已经退色。另外，根据传承系谱的划分，也因将学自师傅的说唱上赋予自己的特色，在其过程中说唱逐渐变化，加上在学习多数师傅唱法的过程中，出现了本来的说唱在后代呈现不同特点的情况。此外根据音乐特色的划分也只是程度上的差异，在传承至今的板索里中，划分东便、西便、中高制，不仅其概念模糊，而且很难赋予较大的意义。

特点

节拍

  所谓节拍(韩国语中称作长短)与西洋音乐单纯的拍子概念不同，其带有包括速度、旋律的形态、强弱、重复周期等的综合性意义。板索里所使用的节拍有晋阳调、中茂里、中中茂里、扎紧茂里、惠茂里、峨茂里、峨中茂里?等。据说，这里的“茂里”在带有“赶着走”的“赶”或“探头”的“头”之意。这些节拍根据在板索里辞说表现的悲痛、闲趣、紧张、特定人物的出现、喜悦等各种情况的设定，或慢或快，或者用于特定的节拍等方法，适当编成。

调

  板索里的调包括出现的音和表示音的功能和志向的旋法概念，以及表示特定段落的声音和感觉的乐想概念等。谈论板索里时，关于“调”的部分是规定板索里音乐特点的重要因素。

  板索里的调主要有“羽调、平调、界面调”三种。这种用语是在传统音乐中，受到歌曲影响的名称，在板索里中原本曾使用“号令制、时调嗓、哀怨声”等名称。据说，到了日本帝国主义时期，用于正乐的“羽调、平调、界面调”等歌曲式曲调名称融合到了板索里。此外，板索里调的名称还有“京调、瑟棱制、秋千嗓”等。

鼓手

  唱者与鼓手是板索里表演的直接负责人。鼓手指击鼓的人。在外国声乐曲中，也有无伴奏声乐，但至今为止，在板索里表演中无此类先例，在板索里表演中，鼓手相伴已成为必需。

另外，称作“一鼓手、二名唱”或“雄鼓手、雌名唱”，更加强调了鼓手的作用和重要性。更进一步，“一鼓手、二名唱、三听众”则强调了听众最为重要。

  通常，鼓手应具备的三个因素是“姿势、助兴词、节拍”。鼓手的正确“姿势”是盘腿坐，直腰，正视唱者。在说唱途中，强调以必需的动作和稳定的伴奏，与唱者合拍。

  鼓手的“助兴词”是利用丹田之气，说出的沉稳的声音，必须适当地迎合说唱节拍或故事的进行情况。通常，鼓手不论年龄，对唱者不使用尊称，而是使用“好”、“不错”等词汇。“节拍”指有滋有味地与说唱相协调的节拍。尤其是，鼓手的鼓必须适当地迎合板索里辞说的内容或节拍，不要仅限于单纯的声音，而应起到为说唱增添光彩、填补说唱停顿阶段、效果音以及调节速度等各种作用。此外，还应即兴演奏或接触各种说唱和唱者，所以需要对板索里具备非常广的见识。因此俗话说，“有少年名唱，但无少年名鼓手。

作品介绍

  板索里十二部是指据推测在19世纪前半期所记录的宋晚载的《观优戏》以后，在文献记录上提到的板索里的种类。但是在19世纪前后，十二部的板索里中，《裴裨将传》、《卞钢铁打令》、《壅固执传》、《雄雉打令》、《曰者打令》、《假神仙打令》、《江陵梅花传》等七部，未能传承至今。因此，现如今只剩下《春香歌》、《沈清歌》、《兴甫歌》、《水宫歌》、《赤壁歌》等五部。

未能传承至今的七部板索里的内容，其唱法并非属于板索里。其中一部分辞说流传至今，《卞钢铁歌(横负打令)》和《淑英娘子传》等一部分，以传承辞说为基础，曾被再创作演唱。

名人名唱

前期8名唱

  据传，板索里确立其位置时期的肃宗末期前后开始，此后在此领域名声远播的名唱们的名字通过口传流传下来，而且其神话般的名声至今也依然留传，沿袭着板索里历史的命脉。这些名唱们的名字在宋晚载的《观优戏》、《甲申完文》、《丁亥等状》、申纬的《观剧诗》、尹达善的《广寒楼乐府》、申在孝的《广大歌》等文献上均有记载。肃宗末期以后到英祖、正祖时期，出现了禹春大、河殷潭、崔先达等名唱。后人将纯祖时期前后称作前期8名唱时代，还分有后期8名唱时代和日本帝国主义时期的5名唱时代。

  通过文献或口传留传的前期8名唱的名字有些差异，申在孝在《广大歌》中将宋兴录、牟兴甲、权三得、申万叶、黄海天、高寿宽、金济哲、宋光禄、朱德基等8人列为8名唱，郑鲁湜在他的《朝鲜唱剧史》上则将权三得、宋兴录、牟兴甲、廉季达、高寿宽、朴裕全、申万叶、金济哲等8人记录为8名唱。此外，朴宪凤在《唱乐大纲》列举了权三得、宋兴录、黄海天、廉季达、牟兴甲、高寿宽、金济哲、申万叶等8人，金演洙在他的唱本《春香歌》中则把权三得、宋兴录、廉季达、牟兴甲、高寿宽、申万叶、朱德基等人列为8名唱。

後期八名唱

  朝鲜纯祖时期前后的前期8名唱和日本帝国主义时期的5名唱时代的中间时期称作后期8名唱时代。这一后期8名唱分别是朴万顺、李捺致、宋雨龙、金世宗、张子伯、丁昌业、郑春风、金赞业等。也有人将金赞业换上金定根或韩松鹤。

  若将前期8名唱时代称作板索里分成东便、西便以及中高制等流派，各自以不同类型开始发展的时期，那么后期8名唱时代可以说是将这种流派的特点和音乐性特色得以定型并进一步深化的时期。

  在后期8名唱中，朴万顺、宋雨龙、金世宗、张子伯、金赞业继承东便制唱法，李捺致、丁昌业则继承西便制，而金定根、韩松鹤则继承中高制，并各自发扬光大。

近代5名唱

  从朝鲜高宗后期到日本帝国主义强占时期的20世纪30年代称作5名唱时代。这个时期因社会上的变动，板索里逐渐衰退，分化成唱剧，有的则以散调等器乐化，而且随着留声机的出现，开始盛行购买留声机唱盘，板索里则更加依赖于大众的喜好。这个时期有名望的板索里名唱有金昌焕、宋万甲、李东伯、金昌龙、丁贞烈、朴基洪、金赞业、刘成俊、金硕昌、金采万、全道成、柳公烈等。其中列入5名唱的人根据指定人有些差异，但大致可列举宋万甲、李东伯、金昌焕、金昌龙、丁贞烈等5人。

Bansori is a traditional performing art of the Korean nation. Bansoli is a singer accompanied by drummer's drum accompaniment, through the "song", "say", "action" to convey the dramatic long story of the Korean inherent traditional performing art. Especially, as the essence of the traditional culture accompanying the Korean nation's history and joy, its originality was certified by the world and included in UNESCO's "Masterpiece of Oral and Invisible Heritage of Human Beings" in 2003.

Basic concepts

Ban Suoli is a combination of "Ban" and "Sori" (transliteration of voice in Korean). Ban refers to "the place where people gather". Sori is the ancient expression of songs. Therefore, "Bansoli" can be said to be the performing art of rap and singing in places where people gather.

Bansori is a traditional Korean performing art. One person sang aloud to express the dramatic content of a long story with "sori", "aniri", "ballim". The other person played drum accompaniment and issued an auxiliary word [1].

Scholars classify Bansoli's genre from various perspectives, such as "rhetoric, narrative poems, opera and music", because Bansoli has a comprehensive artistic feature which combines literary, dramatic and musical factors.

In addition, because Bansoli is a person who plays all roles, it requires not only a wide range of voice, but also a deeper foundation in the change of voice. In addition. Because drummers use rhythmic percussion instruments, drums, only rely on rhythm and auxiliary words to accompany beats, so even if the same rhythm, they should be able to choose different and most suitable rhythms (changing color rhythm) for accompaniment at different moments according to the singer's rap.

origin

There are many opinions about the origin of Banzori, but up to now there is no correct one, so it is presumed that it was formed by the combination of various factors. So far, the origin of Bansoli has been mainly described as "the origin of witchcraft song", "the origin of six-character beat", "the origin of laughter and banter" and "the origin of board games".

The explanation of "the origin of witchcraft song" originates from the music of the Wizards in the shrines in the western areas of Zhongqing Dao, Quanluo Dao and Qingshangdao, including the south of Kyungi Dao in Korea. The explanation of "the origin of the vast laughing opera" is that in the most grand annual activities of the palace from the Koryo period to the end of the Korean period, one of the actors used the music and style of the existing Nandao witchcraft songs to compile the legends into music and sing them as the beginning. In the later period of Korea, with the abolition of the village nuo, the actors tried to ensure a high degree of professionalism in order to survive. Carry it forward.

The theory of origin of Board Games holds that Pansori originated from the game played by the special players in the late period of Korea to make money. The main body of board games is the tramp artist singing in the six-character tempo witchcraft circle, the actor singing by the singing group.

Among many scholars who have studied Bansoli, the most convincing one is Quanluodao's theory of the origin of narrative witchcraft songs. This is because the type of Bansoli is similar to the music of Quanluodao in Korea, and the performance form of Bansoli and narrative witchcraft songs is very similar in music and speaking mixed performance, so Bansoli's views from narrative witchcraft songs are convincing.

To sum up, it is generally believed that Bansoli's music originated partly from witchcraft songs, while literature originated partly from folklore stories. From the end of the 17th century to the beginning of the 18th century, a large number of folklore stories reflecting the life of the ordinary people in cities appeared. In the environment of the successive formation of singing forms catering to the public mood at that time, such as time tune, rhetoric tune, short songs, long and miscellaneous songs, people also required Folklore stories to be expressed in the form of singing. Therefore, a new form of folk singing in Nandao area, Pansoli, was in line with the times. And born.

History

The oldest Bansoli document ever found is the spring incense song in the collection of late Chinese poems written by Liu Zhenhan in 1754 by Yongzu of Korea in 1930. Afterwards, the title of Ban Suoli's twelve parts appeared for the first time in Guanyou Opera in the late Song Dynasty.

From the end of the eighteenth century to the beginning of the nineteenth century, Bansoli was established and entered its heyday. People call this period the early eight singing times of the eight active early singing activities, such as Quan Sande, Song Xinglu, Gaoshou Kuan and Park Yuquan. In particular, in the early eight singing times, there were two schools: Eastern and Western, which were more mature in music. Therefore, in the early eight singing times, it can be said that Bansoli has been expanded in appearance or artistry.

During the period of Zhezhong in Korea, the artistic activities of Park Wanshun, Li Yunzhi, Song Yulong and Jin Shizong were active. Eight of them were called the later eight singers. In the early eight singing times, Bansoli was divided into Dongbian, Xibian and Medium-high system, which belonged to the beginning of their respective development. But in the later eight singing times, it can be said that the characteristics of this genre and music characteristics have taken shape and have been further deepened.

From the late period of Gaozong in Korea to the 1930s under the Japanese Empire, although people had different opinions, most of them were called the five singing times of Song Wanjia, Li Dongbo, Jin Changhuan, Jin Changlong and Ding Zhenlie. This period was characterized by the gradual decline of Bansoli due to social changes and the development of instrumental music such as opera and monophony.

It was not until the 18th century that Bansoli really became an independent art genre. Prior to this, the response of ordinary people became the absolute backing. It was confirmed that there were at least 12 bansuoli at that time, including Bian Gang Da Ding, Bian Gang Zhi Da Ding, Pei Ben Jiang Da Ding, Jiangling Plum Blossom Da Ding, Male Pheasant Da Ding, Yue Ye Da Ding, False Immortal Da Ding, Shu Ying Niang Zi Zhuan, etc.

Since then, Bansoli has gradually been concerned and loved by the two classes, and gradually changed into a content that echoes the hobbies of the two classes. The two classes devoted a lot of attention to the embellishment and rewriting of their speeches. By the late 19th century, Gao Guang Shen had made great contributions to the establishment of the system of Ban Suoli by sorting out directly six of the oral Ban Suoli's speeches into words.

Schools

In the 19th century, Bansoli's appreciative class was generally extended to two classes and the common people. Because of the different singers, Bansoli has become more mature, and the music performance has become more diversified. The personality and creativity of famous singers have become unique again.

Characteristics of music. Like different dialects, the musicality varies from place to place, and according to the genealogy of Pansori, it has more unique characteristics. Later, people classified these characteristics according to similar types, and then the East-style, West-style and Middle-high-style systems appeared.

However, according to the classification of inheritance areas, by the 20th century, the scope of activities of celebrity singers has gradually expanded, and their significance has faded. In addition, according to the division of inheritance pedigree, it also gives its own characteristics to learn from the teacher's rap. In the process of rap changing gradually, and in the process of learning most of the teacher's singing methods, the original rap shows different characteristics in the later generations. In addition, according to the distinction of musical characteristics, it is only a difference of degree. In Bansori, which has been passed down to this day, the distinction of Dongbian, Xibian and Medium-high system is not only vague in concept, but also difficult to give greater significance.

Characteristic

Rhythm

The so-called beat (called length in Korean) is different from the simple concept of beat in Western music. It has a comprehensive meaning including speed, melody form, strength, repetition period and so on. The rhythms used in Bansoli are Jinyang Diao, Zhongmaoli, Zhongmaoli, Zhanzao Maoli, Huimaoli, Emaoli, Emzhong Maoli, etc. It is said that "Maoli" here has the meaning of "rush" or "probe". These rhythms are modeled appropriately according to the settings of grief, leisure, nervousness, the emergence of a particular person, joy, etc. expressed in the Pansori rhetoric, either slowly or quickly, or for a specific rhythm.

transfer

Bansoli's tone includes the concept of rotation of the function and ambition of the appearing tone and the expression of the voice and feeling of a particular paragraph, etc. When discussing Bansoli, the part about "tune" is an important factor in determining the characteristics of Bansoli music.

There are three main tunes in Ban Suoli: feather tune, flat tune and interface tune. This term is the name influenced by the song in traditional music. In Bansoli, it used the names of "command system, time-tune voice, mournful voice" and so on. It is said that in the period of Japanese imperialism, the names of "feather tune, flat tune, interface tune" and other Song-style tunes used for Zhengyue were merged into Pansori. In addition, the name of Bansuoli Diao includes "Beijing Diao, Sereng System, Swing Voice" and so on.

drummer

Singers and drummers are the direct directors of Bansoli's performance. A drummer who beats drums with his fingers. In foreign vocal music, there is no accompaniment vocal music, but so far, there is no such precedent in Bansoli performance. In Bansoli performance, drummer accompaniment has become necessary.

In addition, it is called "one drummer, two singers" or "male drummer, female famous singer", which emphasizes the role and importance of drummers. Further, "one drummer, two singers and three listeners" emphasizes the importance of the audience.

Usually, the three factors that a drummer should possess are "posture, auxiliary words and rhythm". The drummer's correct "posture" is sitting cross-legged, straight waist, facing the singer squarely. During the rap, it is emphasized that the singer should be in tune with the necessary movements and stable accompaniment.

The drummer's "boost ci" is to make use of Dantian's spirit to speak a steady voice. It must appropriately cater to the rhythm of rap or the progress of the story. Usually, drummers, regardless of their age, do not use honorific names, but use words such as "good" and "good". "Rhythm" refers to a rhythm that harmonizes tastefully with rap. In particular, the drummer's drums must appropriately cater to the content or rhythm of Ban Suoli's speech, not just to the simple sound, but to add luster to rap, fill the pause stage of rap, effect tone and adjust speed. In addition, improvisation or contact with a variety of rappers and singers, so it is necessary to have a very broad understanding of Banzori. Therefore, as the saying goes, "There are young singers, but no young drummers.

Introduction of Works

The twelve parts of Bansoli refer to the types of Bansoli mentioned in the literature records after Guanyou Opera recorded in the late Song Dynasty in the first half of the nineteenth century. But around the 19th century, seven of the twelve Pansori books, Pei Ben Jung Zhuan, Bian Gang Da Ling, Yu Gu Zhi Zhuan, Male Pheasant Da Ling, Yue Ye Da Ling, False Immortal Da Ling and Jiangling Meihua Zhuan, have not been passed down to this day. Therefore, there are only five books left now, namely "Spring Fragrant Song", "Shen Qing Song", "Xingfu Song", "Water Palace Song" and "Chibi Song".

The seven pieces of Ban Suoli that have not been passed down to this day are not part of Ban Suoli's singing style. Some of these words have been circulated up to now, such as Bian Gang Ge (Horizontal Warrant) and Shu Ying Niang Zi Zhuan, which are based on the theory of inheritance and have been re-created and sung.

Celebrity singers

Previous 8 Singers

According to legend, Bansoli established his position around the end of the Suzong period, and since then the names of famous singers in this field have been passed down orally, and its mythical reputation still remains, following the lifeline of Bansoli's history. The names of these famous singers are recorded in the literature of Guanyou Opera, Jiashen Wanwen, Dinghai et al., Shenwei's opera poems, Yin Dashan's Guanghan Lou Yuefu and Shen Jiaxiao's Guangguange Song in the late Song Dynasty. From the end of Suzong to the Yingzu and Zhengzu periods, some famous singers such as Yuchunda, Heyin Tan and Cui Xianda appeared. Later generations called the period of Chunzu as the early eight singing times, and divided it into the later eight singing times and the Japanese imperialist period of five singing times.

There are some differences in the names of the eight singers in the early period of the song handed down by literature or oral biography. Shen listed eight singers as eight singers in Guangge, including Song Xinglu, Mou Xingjia, Quan San De, Shen Wanye, Huang Haitian, Gaoshouguan, Jin Jizhe, Song Guanglu and Zhu Deji. Zheng Luhuang listed Quan San De, Song Xinglu, Mou Xingjia, Lian Jida, Gaoshouguan, Park Yuquan, etc. in his History of Korean Opera. Shen Wanye and Jin Jizhe recorded 8 singers. In addition, Park Xianfeng listed eight people in the Outline of Singing Music, including Quan Sande, Song Xinglu, Huang Haitian, Lian Jida, Mou Xingjia, Gaoshouguan, Jin Jizhe and Shen Wanye. In his song book Chunxiangge, Jin Yansu listed Quan Sande, Song Xinglu, Lian Jida, Mou Xingjia, Gaoshouguan, Shen Wanye and Zhu Deji as eight singers.

Later Eight Sings

The middle period of the early eight singers around the Chunzu period of Korea and the five singers during the Japanese imperialist period is called the late eight singers. In the latter period, eight singers were Park Wanshun, Li Luozhi, Song Yulong, Jin Shizong, Zhang Zibo, Ding Changye, Zheng Chunfeng and Jin Zanye. Others have replaced Jin Zanye with Jin Dinggen or Han Songhe.

If we divide the early eight singing times into Eastern, Western and Middle and High School schools, and start to develop in different types, then the later eight singing times can be said to be the period in which the characteristics of this school and its musical characteristics can be stereotyped and further deepened.

In the latter eight singers, Park Wanshun, Song Yulong, Jin Shizong, Zhang Zibo and Jin Zanye inherited Dongbian singing method, Li Luozhi and Ding Changye inherited Xibian singing method, while Jin Dinggen and Han Songhe inherited moderate and high singing system, and developed them respectively.

Five modern singers

The 1930s, from the late Gaozong period of Korea to the period of Japanese imperialist occupation, were called the "five singing times". During this period, because of social changes, Bansoli gradually declined and became an opera, some of which were instrumentalized by monotony, and with the advent of gramophone, it became popular to buy gramophone discs, while Bansoli relied more on the public's preferences. During this period, famous Bansoli singers included Jin Changhuan, Song Wanjia, Li Dongbo, Jin Changlong, Ding Zhenlie, Park Jihong, Jin Zanye, Liu Chengjun, Jin Shuochang, Jin Caiwan, Quan Daocheng and Liu Gonglie. Among them, there are some differences among the five singers according to the appointed person, but they can roughly list five singers, such as Song Wanjia, Li Dongbo, Jin Changhuan, Jin Changlong and Ding Zhenlie.