Summary of Zhu Xi’s Advocacy and Innovation in Musical Thoughts: Zhu Xi was good at playing the piano and was good at music. He wrote a large number of articles about music. His idea of ??advocating elegant music was advocating the ancients, and he proposed to create music. The school and the idea of ??cultivating professionals who are proficient in music are innovative. Keywords: musical thought; admiration for antiquity; innovation; Zhu Xi Zhu Xi (1130-1200) was a great thinker, economist, and educator. In the history of Chinese academics, his status is comparable to that of Confucius. Zhu Xi inherited and transformed the Confucian ideological system founded by Confucius and established a huge system of Neo-Confucianism, which gave Confucianism new vitality and directly affected the development of Chinese society. In the five thousand years of Chinese culture, it is like a towering tower. The navigation tower guides the ship forward. Opening Volume 92 of "Zhu Xi Yu Lei", the article recorded above is the content of Zhu Xi's lectures on ancient and modern music with many disciples, involving measurement scales, twelve temperaments, five tones, and music works of the past dynasties. The disciples who participated in the lectures include Cai Yuanding , Huang Yigang, Huang Gao, Liao Deming, Yang Daofu, Wanjie, Li Hongzu, Teng Lin, Fuguang, Chen Chun, Wang Lixing, Chen Wenwei, Zhou Xu, Pan Shiju, Xiong Jie, Bao Yang, Ye Hesun, Li Fangzi, Pan Zhi, etc., And it is based on Cai Yuanding's musical achievements. As far as the field of music is concerned, the contribution of Zhu Xi and his disciples to the Qingyuan original text is worthy of study by future generations. Zhu Xi loved the harp and was good at the music. Mr. Qian Mu, an expert on Zhu Xi, said: Zhu Xi loved the qin and was good at the music ①. There is a sufficient basis for this. Zhu Xi has a poem about himself in "Forty Years of Writing on the Qin", and among his rich writings in his life, there are many poems and articles involving ancient and modern music, such as the poems "Qin" and "Wen Qin" , "Zhao Junze visited with a qin and wine to get the word "qin", and wrote inscriptions for the qin, such as "Liu Pingshan Fu Zhai Meng Zhai Two Qin Inscriptions", "Huang Zihou Qin Inscriptions", "Ziyang Qin Inscriptions", and talked about "Qin Rhythm" "Shuo", "Tone and Rhythm Analysis", and the "Preface to the New Book of Lü and Lu" show that Zhu Xi's understanding of Lulu and music knowledge has reached a certain level of proficiency. Due to space limitations, the content is not recorded, but it is necessary to give a brief introduction to the group of luthiers Liu Pingshan, Huang Zihou, Zhao Junze, Cai Yuanding and Ziyang. Liu Pingshan was Zhu Xi's teacher when he was a boy. His name was Liu Zihui. He was tired of official life and moved to Xinghua Juntong on Fujian Road. After his term of office expired, he retired to the foot of Wuyi Mountain. He lived on the Tanxi River in Wufu and taught in the Six Classics Hall. My disciples played the piano and sang in their spare time, which had a huge influence on Zhu Xi and Huang Baht. Zhu Xi's musical knowledge first came from Mr. Pingshan. Huang Zihou was Zhu Xi's classmate Huang Zhu when he was a boy. He lived in seclusion in Pucheng due to repeated failures in the imperial examinations and was famous for his poetry achievements. Zihou often brought his qin across the border to visit Zhu Xi. After talking, he would strum the strings and sing, and Zhu Xi would write inscriptions on his qin. Zhao Junze, the grandson of the Zhao Dynasty and Song Dynasty, was very good at playing the piano. He went north from Fuzhou to Chong'an to visit Zhu Xi. Zhu Xi gathered a group of fellow Taoists to gather together, drink wine and divide rhymes, compose poems according to the words, that is, poems and tunes, and songs according to the rules. , became a live music exchange meeting. Cai Yuanding, whose courtesy name was Jitong and whose nickname was Xishan, was from Jianyang County, Jianning Prefecture. Born into a scholarly family, he was the son of scholar Cai Fa. He was born with a bright mind, a clear mind and a clear mind. He did not participate in the imperial examination. He studied with Zhu Xi for forty years. They learned from each other and solved problems. Zhu Xi regarded him as a fearful friend and was actually his disciple. He taught about everything, including astronomy, geography, rituals and music, military systems, and degrees. He was a erudite and accomplished scholar. He wrote many works, including "Lü Lu Xinshu" and "Yan Le Yuan Bian". 》 and other books. Ziyang was Zhu Xi's self-proclaimed name. He had a qin built by someone, and he often sang along to the strings in his spare time. He even sang and played while talking about music, making him an authentic music teacher. Playing the piano and singing are inseparable from music rhythm. Zhu Xi's "Treatise on Qin Rhythm" and "Discrimination of Sound and Rhythm" are summaries of the results of research on music rhythm. Zhu Xi often talked to his disciples about the three-point profit and loss method. By constantly multiplying the length of the nine-inch tempered pipe by 2/3, the lower part will be uniform, the other part will be 4/3, and the upper part will be uniform. By repeating this, a twelve-tone rhythm can be generated; Generated, can also be obtained using the three-point profit and loss method. The calculation units used by Zhu Xi range from chi and cun to centimeters and silk, and are accurate to the last four decimal places to ensure the rhythm of the pitch. The "Preface to the New Book of Lu Lu" is a preface written by Zhu Xi for the work of his disciple Cai Yuanding. Unfortunately, Cai Yuanding was framed as a member of the Qingyuan Puppet Party by the anti-Taoist leader Han Yuanzhou and suffered a blow. In March of the third year of Qingyuan, he took charge of the remote Chongling of Daozhou, Hunan. On August 9 of the following year, he died of illness in a demoted prison with regret. . The unharmonized parts of the Chui Lv in the "Lü Lu Xinshu" were determined through changes by Zhu Xi and Cai Yuanding's eldest son. In fact, Zhu Xi also poured his efforts into it. Respecting the music critics, Confucian music played an important role in Chinese culture and was regarded by Confucians as an important part of etiquette. Since Confucius advocated "depending on benevolence and wandering in art", Zhu Xi emphasized that "art" also Don't ignore it. Such as etiquette, music, shooting, imperialism, calligraphy, and mathematics. If you cannot understand one thing, your mind will feel blocked. But only if you understand it one by one, the principles will begin to flow one by one without any obstruction. Zhu Xi repeatedly told his disciples that if someone did not understand certain key points in music, he should seek advice from a musician or someone who knew music to solve difficult problems. It shows Zhu Xi's respect for musicians. Cai Yuanding, a high disciple of Zhu Xi, was proficient in mathematics and could speak music theory. He wrote "Lü Lu Xinshu". The writing of the book was completed after many discussions and revisions with Zhu Xi. Zhu Xi commented that Cai Yuanding's "law calligraphy is very sophisticated, and none of the modern Confucian scholars can match it."
"Zhu Xi's attribution reflects two issues. First, he fully affirms that the level of music monographs written by Cai Yuanding is higher than that of modern scholars; second, he criticizes the current situation of music in the Southern Song Dynasty. Another of Zhu Xi's disciples, Zhan Tiren and Chunxi In the 15th year of his reign, he became a doctor of Taixue. In the fourth year of Shaoxi's reign, except for Taichang Shaoqing, he lived in the capital for a long time. He recorded music scores in Hangzhou. He returned to his hometown of Pucheng and ordered musicians to compose the wind, elegance and hymn chapters in the "Book of Songs" with popular music, and taught He also used the shengguan to play the ancient poems "Er Nan" and "July", but the tunes were still audible using only Taichang score. Later, when he played the poem "Wen Wang", the sound was not the same. This is what Zhu Xi felt after visiting Yuan Shan, seeing with his own eyes, and hearing with his own ears. Zhu Xi also said: "However, we can only make music of the present, and if it is ancient music, it will not be as beautiful as the earth." People can listen to him recording the music as he goes. Generally speaking, when pressing into music, only two characters are used: the first and last characters. The first character of the chapter is a certain key, and the last character of the chapter is the last character of a certain key. Zhu Xi listed a few poems and criticized: "Yuan Shan didn't pay attention to everything when he was in charge. He just talked nonsense and called Manager Zeng to do everything." For example, Gong, Shang, Jiao, Zheng, and Yu are all divided into the throat, tongue, lips, and teeth. He thought that was all. He did not know that the throat, tongue, lips, and teeth also had Gong, Shang, and Jiao respectively. , Zheng, Yu. Which one? Gai Zi has his own illness. "Three Hundred Poems", since it is divided into Feng, Ya and Song, has different names and different sounds and thoughts, but Zhan Tiren failed to treat them differently. This is very different from Zhu Xi's academic method of studying things to gain knowledge, which emphasizes the analysis of everything. As early as the Northern Song Dynasty, court officials Sima Guang, Huan Ding, Ruan Yi, and Li Zhao had disputes over ancient music. None of them had read the contents of "Tongdian Music Code" compiled by Du You. During the chaos in the Central Plains in the Northern and Southern Dynasties, Chinese elegant music was extinct. In addition, due to the Huangchao Rebellion in the late Tang Dynasty, the musicians were separated and China's original ancient music was lost. Hu music from the Western Regions was popular. Some ancient music was still included in Du You's books in the Tang Dynasty. During the Northern Song Dynasty, folk music was popular, but only three types of tunes, namely Gong, Shang and Yu, were inseparable from the major events of the Song Dynasty. Music has troubled many courtiers. The promotion of elegant music is of special significance to the real society. Zhu Xi said: "No one in this world knows music, and they only rely on instruments to make instruments. "So much so that during the reign of Emperor Renzong of the Song Dynasty, when Li Zhao was making music, Fan Zhen said that it was off by one note, and he felt sad every time he thought about it. This kind of uncoordinated music made Emperor Renzong suffer from heart disease after listening to it. This is a typical example cited by Zhu Xi. Criticism of the current situation of music at that time. Zhu Xi analyzed the music lyrics of the Northern Song Dynasty and said: "The current imperial music with long and short sentences, such as "Six States Song Tou", is all popular music. The four-character poem is a piece of music. In this dynasty, there are only a few people in the history of the country who have done a good job in "Music Chapters". For example, Wang Jinggong has done a very good job, which is as good as "Mao Shi". Nothing else can be done. Hengqu only studied ancient Yuefu compositions, and his diction was not very strong, and he also had many typos. "In fact, it was also a serious criticism of the Confucianism of the time. Renzong liked music, so he ordered Huan Ding and Ruan Yi to compile the "Book of Music" and hide it in famous mountains in the world. Zhu Xi thought this was a good idea. There was a phenomenon that attracted Zhu Xi's attention. There was no Zhengtiao music in the Northern Song Dynasty. Emperor Huizong of the Song Dynasty ordered it to be completed. It could only start with Zhengyin, but could not end with Zhengyin. This was the result of the lack of proficient musical talents, which is a pity. Zhu Xi believed that the score could not be completed, and suspected that "there must be some flaw in it, so it could not be completed." This seemed to be an unsolved musical problem, and it was unknown whether anyone had solved it. The Zhao and Song Dynasty, which had gone south to Hangzhou after the war, completely lost the Northern Song Dynasty. Due to the glory of the country, various institutions have been damaged. There is no regular team in charge of the performances of official sacrifices and celebrations. There is a lack of talents to teach music and the teaching materials used are not standardized. Therefore, music performance cannot be suitable for large, grand and solemn countries. Requirements for celebrations, sacrifices and other activities. Prefectures and counties used singing girls to sing folk music. This situation of the destruction of etiquette and the collapse of music worried Zhu Xi and other Taoists, and they tried to make positive interventions to neutralize Zhu Xi's thoughts. Studying historical gains and losses, he linked music to the destiny of the world and moral conduct. He advocated the Confucian idea of ??harmony, and his requirements for music also required moderate temperament. If it is high, it will be scorched and killed, if it is low, it will be slow. According to historical records, Liu Xin created music for Wang Mang, but he succeeded and died; Shizong also died. When Li Zhao made music, Renzong suffered from heart disease. However, Song Taizu did not pay attention to the music at first, but when he heard the music, he thought it was too high and ordered it to be lowered. They are all peaceful, so Shizuo Jiuchang told his disciples that the music is like a steeple, the sound is loud if it is broad, and the sound is clear if it is sharp. The sound below the palace is too turbid, and the sound above the feather is too light, so it is not possible to play music. Zhongshengye. Zhu Xi's life-long effort is to maintain human relations and make the golden mean flow smoothly, and ritual music can better serve social stability. Therefore, music is closely linked to people's temperament, cultivation, and even destiny. Research shows that Zhu Xi's insights are very wise. The length of ancient musical instruments was measured by scales. In ancient times, the width of sheep's head millet was used as the standard. In the Northern Song Dynasty, the width was measured by arranging 1,200 grains of millet side by side. The idea of ??the nine-inch scale once caused controversy. Zhu Xi of the Southern Song Dynasty believed that this method is not advisable today. There are two types of ancient rulers used for measurement, one is the short circumferential ruler, and the other is the long landscape ruler. Then the Twelve Laws will be inaccurate.
If the rhythm is inaccurate, the specifications of the instrument will be confused, and the music played will not be in tune, resulting in high or low pitch, disrupting the listener's consciousness, and leading to adverse consequences. ② Zhu Xi noticed the problem of only using seven tones when making music. Even if it is rhythmic music, the performance must depend on the occasion. "Don't dare to use it for banquets, because if you use it, the guests and hosts will be unhappy." Cai Yuanding once cut a small piece of bamboo to make a flute and played a beautiful flute. However, when Zhu Xi reviewed the manuscript of "Lü Xinshu", he found that the music was not in tune, so he wrote a letter to Cai Yuanding, who was banned from pseudoscience, looking forward to Yuan Ding's "return." "Search carefully." However, the cruel fact is that Cai Yuanding was transferred to Duanzhou and tortured to death. He failed to continue the negotiation with Zhu Xi. Zhu Xi had to take on the heavy responsibility and complete the correction of the unharmonious tune. Zhu Xi also noticed that current music is not the music that mainstream society needs. The music that the court and temples need must be solemn and harmonious music. What Zhu Xi pursues is music that can reach the upper echelons of elegance. Then, the requirements for lyric content and musical tone are quite strict. In Zhu Xi's view, the music handed down from ancient times is music that has passed the test of time, has not withdrawn from the stage of history, and has vitality. Therefore, Zhu Xi's musical thoughts have a side of worshiping the ancients. Tolerant of all rivers, unique and innovative. As a master of New Confucianism, Zhu Xi is good at playing the iron flute and has a sound that can penetrate clouds and crack rocks. His thoughts are inclusive. His musical thoughts are also inclusive, and more importantly, innovative. When Zhu Xi was a boy, he followed Liu Zihui across the Meiling Mountains to visit Liu Fu in the Water Curtain Cave in Wuyi Mountain. He and Zihui were brothers of the same clan and lived in seclusion in a cave under the cliff, reading and playing the iron flute, living a leisurely life. Life, its flute sound is clear and melodious, the sound of breaking through clouds and cracking rocks echoes in the mountains and fields, and also shocked Zhu Xi's soul. In the days that followed, Zhu Xi led his friends to visit his old place. The wonderful sound of the flute still echoed in his ears, and he left four large characters on the wall of the cave: "It will be like seeing it for a hundred generations." Zhu Xi himself wrote a large number of poems and lyrics. Some poems and poems can be sung according to the rhythm, such as "Zhao Yin Cao", "Yu Emperor Temple Welcome and Farewell Kagura Lyrics", "Shui Diao Ge Tou", etc., especially In his middle and later years, when Zhu Xi mobilized his Taoist disciples to compile materials on ritual and music, after studying a large number of documents, he had his own unique views on music. Even when a disciple asked: "Is it not used in today's vulgar prostitutes?" Zhu Xi said: "Nowadays, prefectures and counties use it. How can I not use it in my own family? It is also up to people's discretion." The word "consider" lies in whether you can appreciate music and treat it differently. There was a girl who was very good at singing, which left a deep impression on Zhu Xi. He told his disciples: (He) understands the rhythm naturally, and his singing all comes from nature. It is the one who is endowed with the completeness of this Qi. This unnamed girl was considered by Zhu Xi to be a person with musical talent, and she should be allowed to display her talents. Zhu Xi once said to his disciples: "Today's scholar-bureaucrats cannot understand the five tones and twelve rhythms. If you want to learn about it, you should establish a music school so that the scholar-bureaucrats can learn it. Over time, someone who is proficient will emerge." ③ In the Southern Song Dynasty, Zhu Xi proposed to establish a music school to cultivate specialized talents proficient in music. This unique idea was ahead of his predecessors. Although the Southern Song Dynasty failed to realize his wish, it can be said that the establishment of specialized music education institutions for future generations has Related to Zhu Xi's bold suggestions. Based on this point alone, it is not an exaggeration to label the musical thoughts of the educator Zhu Xi as unique and innovative.
Source of citation: ① Qian Mu. Outline of Zhu Xi's Studies [M]. Beijing: Life·Reading·New Knowledge Sanlian Bookstore, 2002: 204. ② Li Jingde. Zhu Xi's Language Classes[M]. Beijing: Zhonghua Book Company, 1983: 2185 ③Zhu Xi. Complete Works of Zhu Xi, Vol. Ninety-Two[M]. Shanghai: Shanghai Ancient Books Publishing House, 2002: 3093.