Examining the cultural identity of instrumental music in the context.

The so-called historical echolocation is to go back to the historical context to observe and think about problems. Historical context refers to the political, historical and cultural background of each dynasty in history. It directly refers to the laws and regulations of past dynasties and the cultural forms under this system. This alone is enough to discourage people, because this unique research perspective at least involves history, archaeology, philosophy, economics, sociology, geography, ethnology, anthropology and other disciplines.

In the past, our research on the history of musical instruments often only focused on the shape and current functional use of musical instruments, and rarely interpreted them in the historical, social and cultural context of existence, so the conclusions we drew were often one-sided or even paranoid. For example, some so-called "musical instruments" we see now may not only have the function of playing music as a historical source, but also have other more important social functions and status. If you don't know anything about the rules and regulations of the dynasty and the culture of rites and music, the research on this instrument is bound to be superficial. Duke Zhou's rites and music, as the representative of the national rites and music system in the past two weeks, * * * exercised four functions: ritual vessels, sacrificial vessels, heavy vessels and musical instruments. Unfortunately, most scholars often neglected the first three functions in their previous studies, and their understanding of the historical and cultural identity of pre-Qin Shile was inevitably biased.

Mr. Xiang's modern interpretation of the rise and fall of "Stone Music" in the pre-Qin period first explained the historical context, and after profoundly revealing the essence of the two-week ritual music system, he denied the consistent assertion that "the ritual collapsed and the music was bad" caused the "fault" of stone music. He pointed out that "the ritual collapse and the bad music" not only did not ruin the joy of the stone, but pushed it to a more brilliant stage. Because the music hanging system in the Zhou Dynasty only stipulated the orientation of musical instruments (palace, porch, judge and specialist), but not the number of musical instruments, the "ritual collapse and bad music" directly led to the internal expansion of the number of Jinshi's music (from the initial two pieces to 4, 8, 16, 32, 64 pieces), and the combination of musical instruments originally used only for ritual music was also used for folk music. At the end of the Eastern Zhou Dynasty, a large number of vassal states rose, and the music of stone was widely used as a symbol of class status. The exhibition venue was not limited to the court, but also extended to temples and halls. Of course, the music played has already gone beyond the scope of ritual music. In this way, under the background of "the ceremony breaks down and the music breaks down", under the dual role of etiquette and custom, the band form led by the music of "Stone Story" and combined with other musical instruments is brilliant. However, due to its own limitations and the gradual loss of its function as a heavy weapon, it is the fundamental reason for the decline of the music of Stone.

However, with the in-depth study of "optimistic ceremony" and related topics, and based on the excavation of a large number of stone musical instruments in recent decades, I revised my original point of view to Mr. In the article "Combination of Etiquette and Custom —— Discussion on the Combination of Etiquette and System in the Tomb of Zeng Houyi", Mr. Xiang thinks that the internal expansion of hanging music in the late Western Zhou Dynasty is not a product of "the collapse of ritual and bad music", but a move in line with Zhou Li. The system of music hanging (only specifying the orientation, not the quantity) presupposes a space for the expansion of music "joint ceremony" in later generations. The use of music hanging is constantly expanding, and ceremony, ceremony and even etiquette are used together. More and more use of music contributes to music hanging in internal expansion. Therefore, Ceng Houyi's music suspension is the product of the ceremony system.

In addition, Mr Xiang's article Musicians and Drum Music (⑨) discriminates the relationship between drum music and music record system, the internalization of drum music, and the influence of drum music on folk music culture, and holds that the music record system and the development of drum music are interdependent, and drum music is a kind of music that has a far-reaching influence on China traditional music. And in "Thinking about Living Fossils" and "Some Thoughts on Expanding the Research Field of Xi 'an Drum Music"? Lola? Series? In two papers, he also discussed the historical fate of several "living fossils", such as Guqin, Fujian Nanyin, Xi 'an Angu Music and Wutai Mountain Buddhist Music, and investigated the relationship between music varieties and the national system, holding that most music varieties (such as music varieties, tunes and operas) are actually music cultural forms under the national ritual and music system (such as historical palace and music record system). With the changes of society, it is the complex of these kinds of music that carries the blood of China Music Department. Only through in-depth and meticulous analysis and research can we truly understand the characteristics of China traditional music culture. Our previous studies often only pay attention to the individuality and differences of various kinds of music, but ignore the integrity and consistency presented under the unified national ritual and music system. In other words, what we lack is to understand our traditional music culture from a macro perspective, from a diachronic and diachronic perspective.

Every cultural event has its specific cultural soil behind it. If we always pay attention to the appearance of the research object and ignore its cultural soil and historical context, we can't get an objective and comprehensive understanding. This leads to an important topic: how to write the history of music? How to interpret various cases and events in the long history of music? In short, those musical memories that have been buried for thousands of years should be returned to the historical context of that year and replanted in the cultural soil of that year (national system, cultural background, geographical environment, folk customs and so on). ), let the branches and leaves of history come alive and be as close to the true face of history as possible. Only by examining the complex and subtle cultural relations among rituals, music and musical instruments from the perspective of "historical echolocation" will our understanding of the cultural identity of traditional musical instruments become more and more true.

The second is the combination of "ancient" and "living": under the mode of two-way investigation,

Connecting the context of musical instrument culture research

This research perspective focuses on the two-way thinking of musical instrument research, that is, ancient musical instruments trace back to the source, contemporary musical instruments trace back to the source, connect the origin and development of ancient and modern musical instrument culture, and clarify the changes of ancient musical instrument culture at present with objective and rigorous research.