Liuyue is also called the Sixth Generation of Music and Dance. That is, in the primitive clan society, "Yunmen" was passed down as the joy of the Yellow Emperor, "Xianchi" was passed down as the joy of Emperor Yao, "Shao" was passed down as the joy of Emperor Shun, and in the slave society, "Xia" was written by Yu, and "Yi" was written by Shang Tang. , "Wu" by King Wu of Zhou Dynasty. Ritual music was formulated in the Zhou Dynasty, and music and dance in the Sixth Dynasty were used for sacrifices in suburban temples. "Yunmen" is used to worship heaven, "Daxian" is used to worship earth, "Dashao" is used to worship Siwang, "Daxia" is used to worship mountains and rivers, "Daxi" is used to honor ancestors, and "Dawu" is used to worship ancestors. "Used to enjoy ancestors.
Lü Lu is the Six Laws and Six Lus among the Twelve Laws. Lü Lu is also also known as the Twelve Laws. The odd-numbered rhythm position among the twelve laws is called Lu, also known as Yang Law; the even-numbered rhythm position among the twelve laws is called Lu, also known as Yinlu. Because the even-numbered Liulu is located between the odd-numbered Liulu, Liulv is also called Liujian; and because the writing method of the word "tong" in bronze inscriptions (characters cast by Yin, Zhou Zhongding and other utensils) is different from the word "lv" in later generations. The writing methods are the same, but there are two writing methods, Liu Lu and Liu Tong, coexisting.
Bayin is a classification of traditional Chinese musical instruments. The classification method that emerged in the Western Zhou Dynasty and combined many musical instruments according to eight materials was called eight tones. Gold - bells and cymbals, stone - chimes, earth - xun and fou, leather - drums and harps, silk - qin and harp, wood - harp and harp, gong - sheng and yu, bamboo - Xiao and chi.
Revolving palace transfer refers to the conversion of pitch (palace) and mode (key) in the palace system. "Book of Rites? Li Yun" states: "Five tones, six rhythms, and twelve pipes are used as palace sounds." That is, the twelve rhythms are used as palace sounds to form musical scales of different pitches. "The rotating phase is the palace" means the rotating palace. Swirling palace refers to the change of pitch; modulation refers to the change of mode.
, "Soundless Music Theory" is a treatise on music aesthetics written by Wei Ji Kang of the Three Kingdoms. It is believed that music only has formal beauty, such as: changes and contrasts in size, simplicity, complexity, fierceness and tranquility, and relaxation; it does not express people's thoughts, morality, sorrow and joy, and human emotions are caused by objective external influences. He said: "The sound of the heart is called two things." "Sound should be based on good and evil, and it has nothing to do with sorrow and joy; sorrow and music should be based on emotion, and it has nothing to do with sound." He denied that music is a human being. The influence of spiritual products and music on people's thoughts is obviously one-sided. However, it is of positive significance that he attaches great importance to the formal beauty and aesthetic function of music and the expression of people's natural temperament. He opposes the constraints of Confucian ritual music on people and uses music as a tool for famous teachings. It is an important treatise on music aesthetics in ancient China.
Twenty-eight tunes of Yan music are palace tunes used in court Yan music and folk music from the Sui and Tang to the Liao and Song Dynasties. It is also called the twenty-eight tunes of popular music, or the twenty-eight tunes for short. There are two explanations for the twenty-eight tunes in history. One explanation is that Yanle music in the Sui and Tang Dynasties has four equals (four high tones), and each equalizes seven tones (seven modes), resulting in twenty-eight tones; the other explanation is that Seven equals, each equaling four tones, resulting in twenty-eight tones. Since the relevant theories do not exist, the phonemes of the twenty-eight tones of Yanle in the Sui and Tang Dynasties cannot be determined with certainty.
"Music Book", written by Chen Yang of the Song Dynasty, is the earliest existing large-scale music encyclopedia in China. It was first compiled in the reigns of Xining and Yuanfeng of Shenzong of the Northern Song Dynasty (1068-1085). It took nearly 40 years to complete and was first published in the fifth year of Qingyuan of Ningzong of the Southern Song Dynasty (1199). The whole book consists of 200 volumes, divided into two parts. The first part has 95 volumes, excerpts and explanations from 10 scriptures such as "Book of Rites"; the latter part has 105 volumes, including rules, musical instruments, vocal music, singing and dancing, opera and ceremonial music, etc., with 540 illustrations width. The book has 1124 entries and is rich in content. It pays certain attention to folk music and Hu music, and preserves a large amount of historical materials, which are still valuable today.
Zhugong Diao is a large-scale rap form that originated in the Northern Song Dynasty. It was created by Kong Sanchuan, a Goulan artist from Bianjing (now Kaifeng) in Zezhou, Shanxi (now Jincheng). Zhugong Diao performs long stories with complex plots, spoken and sung, and the accompanying music is a combination of various tunes and patterns composed of various palace tunes. A palace tune constitutes a suite, and the entire performance of the palace tunes is completed by several suites of different palace tunes, which reflects the use of polytonality. Zhugong tunes are named after this feature.
I have compiled the original materials in my computer for a long time since the Northern Song Dynasty and I will not give them to you. There is no ready-made paper
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Ancient Chinese "poetry" is indistinguishable, that is, literature and music are closely related. The poems in the Book of Songs, the earliest existing collection of Chinese poetry, were all set to tunes and sung orally by the people. This tradition has continued. For example, the official poetry collection of the Han Dynasty was called "Han Yuefu". Tang poetry and Song lyrics could also be sung at that time. Even today, there are popular musicians composing and singing ancient poems, such as Su Shi's "Shui Tiao Ge Tou" which describes the Mid-Autumn Festival and Li Bai's "Silent Night Thoughts".
Ancient China looked down upon musicians rather than painters because Chinese painting and calligraphy were closely related. Painters belonged to the class of literati and officials. In the Song Dynasty, they could even "evaluate officials by painting" (actually because of Song Huizong's personal Extreme love for painting). Musicians have a lower status and are just "actors" for the entertainment of the nobles. Li Guinian, a famous singer in the Tang Dynasty, had no political status. People today know him because he often appears in Tang poetry and is praised.
The "literary-official" class in ancient China believed that a cultured person should be proficient in "Qin, chess, calligraphy and painting". The so-called "Qin" is the guqin that has been passed down to this day. However, the guqin could only be enjoyed by scholar-bureaucrats alone and could not be performed to the public. The guqin has a smaller volume and is the only instrument with a higher status.
Summary: The development of music theory in ancient China was slow, its status in the "official history" was not high, and no more written information was left. But music, like literature, was a compulsory course for the ancient intellectual class, and undoubtedly played an important role in the daily life of ancient Chinese people; folk music is full of colorful melodies.
Music of the Xia and Shang Dynasties
The Xia and Shang dynasties were a period of slave society. Judging from classical literature records, the music and dance at this time had gradually separated from the original clan music and dance, which was unique to the clan. They were more occupied by slave owners. Judging from the content, they gradually left primitive totem worship and turned into odes to those who conquered nature. For example, Xia Yu controlled floods and benefited the people, so the music and dance "Da Xia" appeared to praise Xia Yu. Xia Jie was unruly, and Shang Tang attacked him, so there was a music and dance "The Great Lobster" to praise Shang Tang's attack on Jie. Witchcraft was prevalent in the Shang Dynasty, so Wu (witches) and Jin (wizards) appeared who were specialized in offering sacrifices. They were raised by slave owners and danced and sang during sacrifices. They were the first people to take music as a profession. Slave owners used music and dance to worship the emperor and ancestors, and at the same time, they used music and dance to indulge their own enjoyment. After their death, they had to be buried as musicians. This cruel killing system exposed the cruel rule of slave owners on the one hand, and objectively reflected the progress of productivity compared with the primitive era, thus giving music culture the ability to develop rapidly. condition. According to historical records, drums made of crocodile skin were already used in the Xia Dynasty. In the Shang Dynasty, wooden-tuned python-skin drums and bronze drums with double-bird gluttonous patterns have been discovered, as well as well-made stone pans derived from birch plows. Influenced by the Bronze Age, chimes and cymbals also appeared in the Shang Dynasty, most of which were in groups of three. The emergence of various types of percussion instruments reflects the characteristics of the development of percussion instruments in the history of musical instruments. The body-sounding instrument Tao Xun, which began in more than 5,000 BC, has developed from a single tone hole and a two-tone hole to a five-tone hole. It can produce a sequence of twelve semitones. Based on the pronunciation of Tao Xun, it can be inferred that the pentatonic scale, the basis of Chinese national music thinking, appeared in the late Neolithic Age, while the seven-tone scale had appeared at least in the Shang and Yin Dynasties.
Music of the Western Zhou Dynasty and Eastern Zhou Dynasty
The Western Zhou Dynasty and the Eastern Zhou Dynasty were historical periods in which the slave society went from prosperity to decline and the feudal social factors increased day by day. During the Western Zhou Dynasty, the court first established a complete ritual and music system. Officials with different statuses in the banquet and entertainment are required to have different statuses and dance team formations. Summarizing the epic music and dance of the previous dynasties, we can see the so-called "Six Dynasties of Music and Dance", namely "Yunmen" in the Yellow Emperor's reign, "Xianchi" in the Yao Dynasty, "Shao" in the Shun Dynasty, and "Daxia" in the Yu Dynasty. , "Da Wei" in the Shang Dynasty, and "Da Wu" in the Zhou Dynasty.
In the Zhou Dynasty, there was also a system of collecting folk songs to observe customs and observe the sentiments of the people. Due to this, a large number of folk songs have been preserved. After Confucius deleted them in the Spring and Autumn Period, they formed the first collection of poems in China - The Book of Songs. It contains 305 pieces of Yue poems from the beginning of the Western Zhou Dynasty to the middle of the Spring and Autumn Period over 500 years. The best part of "The Book of Songs" is "wind". They are fifteen folk songs that are popular in Henan Province and include several nearby provinces. In addition, there are "Daya", "Xiaoya" created by literati, and epic sacrificial songs "Ode". Based on the analysis of the text that has been handed down, the songs in The Book of Songs can be summarized into ten musical structures. As the climax at the end of the song, it has a special name "Chaos". Before and after the "Book of Songs" was written, the famous patriotic poet Qu Yuan compiled "Nine Songs" based on the sacrificial songs of the Chu region, which has strong characteristics of Chu culture. At this point, two works of different musical styles complement each other.
During the Zhou Dynasty, folk music life involved more than a dozen aspects of social life and was very active. Legend has it that Boya played the harp, and the story of Zhong Ziqi's bosom friend began at this time. This reflects the improvement of performance technology, composition technology and people's appreciation level. When playing the guqin, the guqin player also summed up the psychological feeling of playing "only when you get it from the heart can you apply it to the instrument." The famous singer Qin Qing's singing is recorded to be able to "vibrate the forest trees and contain the flying clouds". There is also the folk singer Han E. After singing, "the lingering sound will last for three days." These are high achievements in vocal technique.
The highly developed musical culture of the Zhou Dynasty can also be seen in the ancient musical instruments unearthed in 1978 from the tomb of Marquis Zeng Yi of the Warring States Period in Suixian County, Hubei Province. This underground music treasure house, which is comparable to the Egyptian pyramids, provided a model for the court ritual and music system at that time. The 124 musical instruments of eight kinds unearthed here were classified according to the "eight-tone" musical instrument classification of the Zhou Dynasty (gold, stone, There are almost all kinds of musical instruments (silk, bamboo, gourd, earth, leather, wood). Among them, the most important sixty-four chime instruments are arranged in three levels: upper, middle and lower, with a total weight of more than 5,000 kilograms and a total sound range of up to five octaves. Because this set of chimes has the characteristics of one bell of the Shang and Zhou dynasties with two tones in one bell, and the twelve semitones in the middle tone range are complete, it can be rotated to the palace, thus confirming the reliability of the records of the palace in the pre-Qin Dynasty. There are also inscriptions on the tomb bell and Pan musical instruments of Marquis Yi of Zeng, which describe the theories of music among various vassal states, reflecting the high achievements of music and music in the Zhou Dynasty. In the Zhou Dynasty, the theory of the Twelve Laws had been established. The names of the five tones (Gong, Shang, Jiao, Zheng [zhi three tones], and Yu) have also been established. By this time, people already knew that the pentatonic or heptatonic scales were dominated by palace sounds, and the change of the position of the palace sounds was called the rotation of the palace, so that the effect of modulation could be achieved. Outstanding achievements in legal studies can be found in the "three-point profit and loss method" recorded in "Guanzi-Diyuan Chapter". That is, based on the string length of the Gongyin, add one-third (gain one) to get the pure fourth Zhengyin below the Gongyin; subtract one-third (loss one) from the string length of the Zhengyin, and get the Zhengyin The pure fifth quotient above; continue to calculate the chord length of each note of the pentatonic scale. According to this method, the chord lengths of twelve semitones (twelve temperaments) in the full octave are calculated to form the "three-point gain and loss temperament system". This kind of temperament is formed by natural intervals of fifths, and the sound produced each time is slightly higher than the fifth of the twelve equal temperaments. In this way, the octave higher than the starting temperament cannot be obtained by repeating the tone twelve times. The sound caused the so-called "Huang Zhong cannot be restored" and caused inconvenience to the rotation of the palace. But this rhythmic system that fully embodies the melody beauty of single-note music continues to this day.
Music in the Qin and Han Dynasties
"Yuefu" began to appear in the Qin and Han Dynasties. It inherited the Zhou Dynasty's system of collecting folk music, collecting, organizing and changing folk music, and finally achieved the results of a large number of musicians playing at banquets, suburban sacrifices, court greetings and other occasions. These lyrics for singing are called Yuefu poems. Yuefu was later extended to refer to various lyrics that are suitable for music or not. Even some operas and Qiyue are also called Yuefu.
The main song form in the Han Dynasty was Xianghe song. It evolved from the original acapella singing of "one person singing and three people harmonizing" to the "Xianghe Daqu" with silk and bamboo musical instruments accompaniment. It had an important influence on the songs and dances of the time. During the Han Dynasty, drumming music emerged in the northwest frontier.
It uses different arrangements of wind instruments and percussion instruments to form a variety of blowing forms, such as horizontal blowing, riding blowing, Huangmen blowing and so on. They were played on horseback or on the march, and were used in military ceremonies, court banquets, and folk entertainment. The folk wind and percussion music that still exists today must have traces of the advocacy of the Han Dynasty. In the Han Dynasty, "Baixi" appeared, which was a program that combined singing, dancing, acrobatics, and sumo wrestling. The achievement of temperament in the Han Dynasty was that Jingfang divided the octave into sixty temperaments using the three-point gain and loss method. Although this theory is meaningless in musical practice, it reflects the subtlety of temperament thinking. Theoretically, the effect of the fifty-three equal law is achieved.
Music during the Three Kingdoms, Two Jins, and Southern and Northern Dynasties
Qing Shang music, which developed from Xiang Hege, received the attention of the Cao Wei regime in the north, and the Qing Shang Administration was established. The war between the two Jin Dynasties caused Qing business music to flow into the south and merged with Wu songs and Western music in the south. During the Northern Wei Dynasty, this kind of Qing Shang music that merged the north and the south returned to the north and became an important type of music spread throughout the country. Since the Han Dynasty, with the smooth development of the Silk Road, songs from the countries in the Western Regions began to spread to the mainland. During the Northern Liang Dynasty, Lu Guang brought Qiuci (now Kuqa, Xinjiang) music to the mainland, which played an important role in the Yan music of the Sui and Tang Dynasties. This shows that at that time, communication between people of all ethnic groups in music had become very popular.
At this time, the guqin, a representative instrument of traditional music culture, became mature. This is mainly reflected in the fact that in the Han Dynasty, a monograph on guqin called "Qin Cao" appeared with the title of the qin music. Ji Kang, a famous qin player during the Three Kingdoms period, recorded in his book "Qin Cao" that "the jade of Zhongshan is the emblem." This shows that people at that time were already aware of the generation of Hui-bit overtones on the guqin. At that time, a large number of literati qin players appeared one after another, such as Ji Kang, Ruan Ji, etc., and a number of famous pieces such as "Guangling San" ("Nie Zheng Assassins the King of Qin"), "Yilan Cao", "Jiu Kuang" and so on came out.
In the late Southern and Northern Dynasties, a kind of song and dance drama with storyline, characters and costume performances, singing and dancing, as well as singing and orchestral accompaniment was also popular. This is already a small prototype opera.
Important achievements in temperament during this period include Xun Mao's discovery of the "pipe mouth correction number" for wind instruments in the Jin Dynasty. In the Southern Song Dynasty, He Chengtian created a new law that is very close to the law of twelve equals by using the method of arithmetic superposition on the three-point profit and loss method. His efforts initially solved the problem that Huang Zhong could not restore the three-point profit and loss law.
Music of the Sui and Tang Dynasties
During the Sui and Tang dynasties, the political power was unified. Especially in the Tang Dynasty, the politics was stable and the economy was prosperous. The rulers pursued an open policy and had the courage to absorb the culture of outer cities, and added The integration of music culture of all ethnic groups that had been nurtured since the Wei and Jin Dynasties laid the foundation, and finally the peak of the comprehensive development of music art with singing and dancing music as the main symbol sprouted.
The music played at court banquets in the Tang Dynasty was called "Yan music". The Qibu music and Jiubu music in the Sui and Tang dynasties belong to Yan music. They are folk music of various ethnic groups and some foreign countries. They mainly include Qing Shang music (Han nationality), Xiliang (now Gansu) music, Gaochang (now Turpan) music, Qiuci (now Kuqa) music, Kangguo (now Russia) music. Samarhan) music, Anguo (now Bukhara, Russia) music, Tianzhu (now India) music, Goryeo (now North Korea) music, etc. Among them, Qiuci music and Xiliang music are more important. Yanle is also divided into Zuobuqi and Libuqi performances. According to Bai Juyi's poem "Libuqi", the performance level of Zuobuqi players is higher than that of Libuqi.
The popular song and dance songs of the Tang Dynasty are unique and wonderful works of Yan music. It inherits the tradition of Xianghe Daqu, integrates the essence of music from all ethnic groups in the nine-part music, and forms a structural form of San sequence - middle sequence or beat sequence - break or dance. There are 46 titles of Tang Daqu recorded in "Jiaofang Lu". Among them, "The Dance of Colorful Feathers" is praised by the world for its composition by the famous emperor musician Tang Xuanzong and its elegant style of French music. The famous poet Bai Juyi wrote a vivid poem "Dancing Song of Colorful Feathers" describing the performance of this opera.
The prosperity of music culture in the Tang Dynasty is also reflected in a series of music education institutions, such as Jiaofang, Liyuan, Da Le Department, Advocacy Department, and Liyuan Special Education Garden, which specializes in teaching young children. These institutions use strict performance appraisals to produce batches of talented musicians. Tang poetry, which is regarded as a masterpiece in the history of literature, could be sung to music at that time.
At that time, Kabuki took pleasure in being able to sing poems by famous writers; poets also measured their writing skills by how widely their poems became popular after being put into music. In the bands of the Tang Dynasty, the pipa was one of the main instruments. It is almost the same shape as today's pipa. Today's Fujian Nanqu and Japanese pipa still retain some of the characteristics of Tang pipa in form and playing methods.
Influenced by Qiuci music theory, the eighty-four tunes and the twenty-eight tunes of Yanyue appeared in the Tang Dynasty. Cao Rou in the Tang Dynasty also created the Guqin notation method of subtracting character notation, which has been used until modern times.
Song Music
The development of music culture in the Song Dynasty was marked by the rise of citizen music, which developed more deeply than the music of the Sui and Tang Dynasties. With the prosperity of the urban commodity economy, amusement parks "Washe" and "Goulan" adapted to the cultural life of the citizen class came into being. In "Washe" and "Goulan", people can hear the singing of art songs such as shouting, pur singing, small singing, singing and singing; they can also see rap music types such as Yaci, Taozhen, Guzici, etc. The palace tunes, as well as the performances of dramas and operas, can be said to be full of excitement and beauty, and a hundred flowers bloom. Among them, the two musical form structures of Maoling and Maangda in singing and earning have a certain influence on the musical structure of later operas and instrumental music. The drum lyrics influenced the drum lyrics of later generations of rap music. Zhugong Diao is a large-scale rap genre that matured during this period. Singing plays an important role.
Inheriting the development of tunes and lyrics in the Sui and Tang Dynasties, tune music in the Song Dynasty achieved unprecedented development. This literary genre of singing with long and short sentences can be divided into word card forms such as lead, slow, close, pai, ling and so on. In terms of word-writing techniques, there are already "spreading", "reducing characters", "stealing sounds", etc. Jiang Kui of the Southern Song Dynasty was a famous lyricist and musician who could not only compose lyrics but also compose music based on his lyrics. He has seventeen self-written songs and one qin song "Ancient Resentment" with reduced word notation handed down to the world. Most of these works express the author's concern for the people of the motherland and depict a quiet and desolate artistic conception, such as "Yangzhou Slowness", "Mei Ling of Gexi", "Apricot Blossom Sky Shadow" and so on. The guqin music of the Song Dynasty was pioneered by Guo Chuwang's representative work "Xiaoxiang Shuiyun". The work expresses the author's love for the mountains and rivers of his motherland. In the long history of the development of bowed string instruments, records of "horsetail huqin" appeared in the Song Dynasty.