The law is six of the twelve laws, and the law is also called the twelve laws. The singular number in the twelve dharma methods is called dharma, also known as yang method; The even position in the Twelve Laws is called Lu, also called Yin Lu. Because even six LVs are between the six laws of odd numbers, these six LVs are also called six rooms; Moreover, because the writing of the word "Tong" in bronze inscriptions (such as Yin and Ding) is the same as that of the word "Lu" in later generations, there has been a situation in which six Lu and six Tong coexist.
Classification of traditional eight-tone musical instruments in China. In the Western Zhou Dynasty, according to eight kinds of materials for making musical instruments, the classification method of combining various musical instruments was called eight tones. Golden bells, cymbals, stone chimes, earth chimes, chimes, leather drums, harps, harps, wooden chimes, chimes, cymbals, cymbals.
Tone-shifting Gongdiao refers to the height adjustment (Gongdiao) conversion and mode (tuning) conversion in Gongdiao system. Book of rites? "Li Yun" has: "Five tones, six laws and twelve tubes are the palace." That is, the twelve methods use this as the palace sound to form scales with different pitches. "Rotating into the palace" is the rotating palace. Rotating palace refers to the conversion of height adjustment; Tone modulation refers to the conversion of modes.
On the musical aesthetics of the Three Kingdoms Wei. It is believed that music has only formal beauty, such as size, simplicity, height, intense silence, relaxed change and contrast; It does not show people's thoughts, morality and feelings of sadness and joy, and people's feelings are influenced by objective external things. He said, "The heart has two names for sound." "The voice should be based on good and evil, without sorrow and joy; Sorrow and joy should follow the feelings, not the sound. " He denies that music is the product of human spirit and its influence on people's thoughts, which is obviously one-sided. However, he attaches great importance to the formal beauty and aesthetic function of music, shows people's natural temperament, opposes the bondage of Confucian rites and music to people, and regards music as a tool of famous education, which has positive significance. It is an important work of China's ancient music aesthetics.
Twenty-eight tunes of Yan music are the palace tunes used by court Yan music and folk pop music in Sui, Tang, Liao and Song Dynasties. Also known as the twenty-eight tunes of pop music, it is called twenty-eight tunes for short. There are two explanations for the twenty-eight tones in history. One explanation is that Yan Yue in Sui and Tang Dynasties has four levels (four tenors), and every seven levels (seven modes) has twenty-eight keys; Another explanation is that seven averages, each averaging four tones, get twenty-eight tones. Due to the lack of relevant theories, the phonemes of Yan music in Sui and Tang Dynasties cannot be determined.
Le Shu is the earliest existing large-scale music encyclopedia in China. It was first compiled in the years of Xining and Yuanfeng in northern Song Shenzong (1068- 1085), and it took nearly 40 years to complete. It was first published in the fifth year of Qingyuan in Ningzong, Southern Song Dynasty (1 199). This book has 200 volumes and is divided into two parts. The front ***95 volumes extract 10 scriptures such as The Book of Rites and explain them; The latter part *** 105, including music, musical instruments, vocal music, singing and dancing, hundred operas and ritual music, with 540 illustrations. There are 1 124 entries in the book, which is rich in content, attaches great importance to pop music and Hu music, and preserves a large number of historical materials, which are still valuable today.
Zhugong tune originated from a large-scale rap form in the Northern Song Dynasty. Created by Bianjing (now Kaifeng) Goulan artist and Shanxi Zezhou (now Jincheng) Kong Sanchuan. Zhugongdiao performed a long story with complicated plot and a combination of rap and singing, and the supporting music was a variety of musical forms composed of various Gongdiao. A palace tune constitutes a suite, and the overall performance of various palace tunes is completed by several suites of different palace tunes, which reflects the application of polytonality, hence the name of various palace tunes.
The original information in my computer has been sorted out for a long time, and I won't give it to you after the Northern Song Dynasty. There are no ready-made papers.
You cleaned it yourself.
You won't reward me 10 for writing a paper, will you? ! !
The paper is here:::::
In ancient China, there was no distinction between "poetry", that is, literature and music were closely related. The poems in The Book of Songs, the earliest extant collection of poems in China, are accompanied by tunes and sung orally. This tradition has continued. For example, the integrated official poem in the Han Dynasty was called "Han Yuefu", and Tang poetry and Song poetry could also be sung at that time. Even today, there are pop musicians who compose and sing ancient poems, such as Su Shi's Shui Diao, which describes the Mid-Autumn Festival, and Li Bai's Thoughts on a Quiet Night.
In ancient China, musicians were despised, unlike painters, because China's calligraphy and painting were closely related, and painters belonged to the literati class. In the Song Dynasty, they could even be "examiners by painting" (in fact, it was also because of Song Huizong's extreme interest in painting). Musicians have a low status and are only "actors" of aristocratic entertainment. Li Guinian, a famous singer in the Tang Dynasty, also had no political status. Now people know him because he often appears in Tang poetry and is praised by people.
In ancient China, the "scholar-officials" class believed that a cultivated person should be proficient in "Qin, chess, calligraphy and painting", and the so-called "Qin" is the guqin that has been handed down to this day. However, guqin is only for the exclusive use of literati and cannot be played to the public. Guqin has a low volume and is the only instrument with high status.
Summary: China's ancient music theory developed slowly, and its position in the "official history" was not high, leaving no more written materials. But music, like literature, is a compulsory course for ancient intellectuals and undoubtedly plays an important role in the daily life of ancient China people. Folk songs are full of colorful melodies.
Music in Xia and Shang Dynasties
Xia and Shang Dynasties were a period of slavery society. According to the records of classical literature, music and dance at this time has gradually deviated from the characteristics of primitive clan music and dance, and was more occupied by slave owners. From the content, they gradually broke away from the original totem worship and became an ode to those who conquered nature. For example, Yu Xia managed water and benefited the people, so there appeared the music and dance "Great Summer" praising Yu Xia. Xia Jie had no choice but to cut it by Shang Tang, so there was a musical dance "Dami" that praised Shang Tang for cutting Jie. Witchcraft prevailed in Shang dynasty, so there appeared wizards who dedicated sacrifices. They were raised by slave owners, danced and sang during sacrifices, and were the first people to take music as their profession. Slave owners sacrificed music and dance to emperors and ancestors, and at the same time indulged themselves with music and dance. When they die, they will be martyred by musicians. On the one hand, this cruel martyrdom system exposes the cruel rule of slave owners and objectively reflects the progress of productive forces in the primitive times, thus enabling the rapid development of music culture. According to historical records, in the Xia Dynasty, crocodiles were used to cover drums. In the Shang Dynasty, there have been wooden cavity python drums, two birds gluttonous bronze drums and well-made birch plough stone pots. Influenced by the Bronze Age, bells and cymbals appeared in Shang Dynasty, and most of them were in groups of three. The appearance of various percussion instruments embodies the development characteristics of percussion instruments in the history of musical instruments. Tao Kui, a body-singing instrument that began more than 5,000 years BC, developed from a monophonic hole and a diphone hole to a pentatonic hole at that time, and can emit twelve semitones. According to Tao Xun's pronunciation, the pentatonic scale, which is the basis of China's national music thinking, appeared in the late Neolithic Age, while the heptatonic scale appeared at least in Shang and Yin Dynasties.
Music in the Western Zhou and Eastern Zhou Dynasties
The Western Zhou Dynasty and the Eastern Zhou Dynasty were historical periods in which slave society turned from prosperity to decline, and feudal social factors were increasing day by day. During the Western Zhou Dynasty, the imperial court first established a complete system of rites and music. In banquets and entertainments, officials in different positions are required to have different positions and dance teams. Summarizing the epic music and dance of past dynasties, we can see the so-called "six generations of music and dance", that is, Yunmen in the Huangdi era, Xianchi in the Yao era, Daxia in the Shao and Yu dynasties in the Shun era, Daxie in the Shang dynasty and Dawu in the Zhou dynasty. The Zhou dynasty also had a system of collecting wind and observing people's feelings. Relying on this, a large number of folk songs were preserved, and after being deleted by Confucius in the Spring and Autumn Period, China's first poetry collection, The Book of Songs, was formed. It contains 305 poems1* * * about entering music from the early years of the Western Zhou Dynasty to the middle of the Spring and Autumn Period. The most wonderful part of The Book of Songs is "Wind". They are the songs of the 15th National Congress and spread around Henan Province, including several nearby provinces. In addition, there are several genres of "elegance" and "elegance" created by literati, as well as the epic sacrifice song "Ode". According to the analysis of handed down figures, the songs in The Book of Songs can be summarized into ten musical structures. As the climax at the end of the song, a special name "Luan" appeared. Qu Yuan, a famous patriotic poet, edited nine Songs of the Chu based on The Songs of the Chu before and after the Book of Songs was written, which has strong Chu cultural characteristics. At this point, the two works with different musical styles complement each other in the North and the South.
The folk music life in Zhou Dynasty involved more than ten aspects of social life and was very active. 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. In the performance of guqin, Qin people also summed up the psychological feeling that "only from the heart can we respond to musical instruments". According to records, the famous singer Qin Qingneng "sings trees to stop flying clouds". Folk singer Han E sang "I can't stop for three days." . These are the high achievements of vocal music technology.
The highly developed music culture of the Zhou Dynasty can also be seen from the ancient musical instruments unearthed in Sui County, Hubei Province in 1978. This underground music treasure house, comparable to the Egyptian pyramids, provided a model of the court ceremony and music system at that time. Eight kinds of 124 musical instruments have been unearthed here. According to the classification of "eight-tone" musical instruments in Zhou Dynasty (gold, stone, silk, bamboo, jade, earth, leather and wood), almost all kinds of musical instruments are available. Among them, the most important 64 kinds of chime instruments are arranged in three layers: upper, middle and lower, with a total weight of more than 5,000 kilograms and a total range of five octaves. Because this set of chimes has the characteristics that the chimes of Shang and Zhou Dynasties ring twice once, the twelve semitones in the local sound area are complete and can rotate in the palace, thus confirming the reliability of the records of the rotating palace in the pre-Qin literature. There are also inscriptions on the bells and dishes of the tomb of Zeng Houyi, which are about the music theory among the vassal States and reflect the high achievements of the music method in the Zhou Dynasty. In the Zhou Dynasty, the theory of twelve laws was established. The names of the five tones (Gong, Shang, Jiao, Zheng and Yu) have also been established. At this time, people already know that the fifth or seventh scale is dominated by Gong Yin, and the change of Gong Yin's position is called Gong Xuan, so that the effect of tuning can be achieved. The "three-point profit and loss method" recorded in Guanzi Yuan Di has made outstanding achievements in law. That is to say, on the basis of the chord length of Gong Yin, increase one third (gain one) to get a pure four-degree sign below Gong Yin; Subtract one third (loss one) from the chord length of the symbol to get the pure quintuple above the symbol; The chord length of each tone in the pentatonic scale can be obtained by further calculation. According to this method, the chord length of twelve semitones (twelve laws) in full octave is calculated, which constitutes the "three-point profit and loss law system". This rhythm is formed by natural intervals of five degrees, and the tone produced each time is slightly higher than the five degrees of the average rhythm of twelve times, so that the octave higher than the original rhythm cannot be obtained after twelve times, resulting in the so-called "yellow bell cannot be restored", which causes inconvenience to the rotation of the palace. But this legal system, which fully embodies the melody beauty of monosyllabic music, has continued to this day.
Qin and Han music
"Yuefu" began to appear in Qin and Han Dynasties. It inherited the system of collecting folk songs in the Zhou Dynasty, collecting, sorting out and changing folk music, and at the end of the performance, a large number of musicians played at banquets, suburban sacrifices and celebrations. These lyrics used for singing are called Yuefu poems. Yuefu, later extended to refer to all kinds of lyrics with or without music, and even some operas and July are called Yuefu.
The main form of songs in Han Dynasty is Song Xianghe. From the initial oratorio of "one person singing, three people harmony", it gradually developed into "Hehe Daqu" accompanied by silk and bamboo instruments, with a "gorgeous-inclined-chaotic" musical structure, which had an important influence on Song and Dance Daqu in Sui and Tang Dynasties. In the Han dynasty, drum music rose in the northwest frontier. It consists of different wind instruments and percussion instruments, such as cross blowing, riding blowing, yellow door preaching and so on. They are played on horseback or on the move, and are used for military music etiquette, court banquets and folk entertainment. The folk percussion music that exists today should have the legacy advocated by the Han Dynasty. There was also a "Hundred Dramas" in the Han Dynasty, which was a program integrating song and dance, acrobatics and wrestling (sumo wrestling). The achievement of jurisprudence in Han Dynasty is that Fang Jing divided octaves into sixty laws by the method of three-point profit and loss. Although this theory is meaningless in music practice, it embodies the subtlety of legal thinking. Theoretically, the effect of fifty-three average law is achieved.
Music of the Three Kingdoms, the Jin Dynasty and the Southern and Northern Dynasties
Shang Qing music, which developed from Song Xianghe, was attached great importance by the northern Cao Wei regime, and the Shangqing Department was established. The war at the turn of the Jin Dynasty made Shang Qing music flow into the south and merged with Wu Ge and traditional Chinese opera in the south. In the Northern Wei Dynasty, this kind of Shang Qing music, which was integrated with the North and the South, returned to the North and became an important music spread throughout the country. Since the Han Dynasty, with the smooth flow of the Silk Road, songs from western countries have been introduced into the mainland. During the Northern Liang Dynasty, Lv Guang brought Qiuci (now Kuche, Xinjiang) music, which played an important role in Yan music in Sui and Tang Dynasties, to the mainland. This shows that the communication between people of all ethnic groups in music was very common at that time.
At this time, Guqin, the representative instrument of traditional music culture, has matured, mainly in the following aspects: Cao Qin, a monograph on Guqin in Han Dynasty, explained the title of Qinle. Ji Kang, a famous pianist in the Three Kingdoms period, recorded in his book Cao Qin that "the emblem is Zhongshan jade". This shows that people at that time already knew the appearance of overtones on the guqin emblem. At that time, a large number of literati musicians appeared one after another, such as Ji Kang and Ruan Ji, and a number of famous tracks such as Guangling San (stabbing the king of Qin), Cao and drunkard appeared.
At the end of the Northern and Southern Dynasties, there was also a popular musical, with story lines, roles and makeup performances, singing and dancing, and accompaniment and orchestral accompaniment. This is already a small embryonic opera.
Important legal achievements in this period include Xie Xun's discovery of the "positive hole number" of wind instruments in the Jin Dynasty. In the Southern Song Dynasty, He Chengtian created a new law which is very close to the law of twelve averages by the method of arithmetic superposition. His efforts initially solved the problem that Huang Zhong could not restore the three-point profit and loss law.
Sui and Tang music
During the Sui and Tang Dynasties, the political power was unified, especially in the Tang Dynasty, with political stability and economic prosperity. The ruler pursues the open policy and dares to absorb the culture of other cities. In addition, the fusion of various ethnic music cultures since the Wei and Jin Dynasties laid the foundation, and finally sprouted the peak of all-round development of music art with song and dance music as the main symbol.
The music enjoyed by the court in the Tang Dynasty is called "Yan Yue". Seven-step and Nine-step in Sui and Tang Dynasties belong to Yan Music. They are folk music of various nationalities and some foreign countries, mainly including Shang Qing music (Han nationality), Xiliang music (now Gansu), Gaochang music (now Turpan), Qiuci music (now Kuqa), Guo Kang music (now Samarkand, Russia), Anguo music (now Bukhara, Russia), Tianzhu music (now India) and Koryo music (now North Korea). Among them, the more important ones are Qiuci Music and Xiliang Music. Yanle can also be divided into Zuobi and Bailey. According to Bai Juyi's poem Bailey, the performance level of his left arm is higher than Bailey's.
The popular song and dance Daqu in Tang Dynasty is a wonderful flower in Yan music. It inherits the tradition of Xianghe Daqu, and integrates the essence of national music in nine pieces, forming a structural form of scattered sequence-middle sequence or beat sequence-breaking or dancing all over. There are 46 Tang Daqu's in Jiao Fanglu, among which "Dancing in Dress and Feather" is praised by the world because of its elegant style, which was written by the famous imperial musician Tang Xuanzong. Bai Juyi, a famous poet, wrote a vivid poem "Yi Yu Dance Song" to describe the performance process of this Daqu.
The prosperity of music culture in the Tang Dynasty is also manifested in a series of music education institutions, such as teaching workshops, pear gardens, big music departments, preaching departments and pear gardens dedicated to teaching young children. These institutions have trained a batch of talented musicians through strict performance assessment. Tang poetry, a must in the history of literature, was able to sing and laugh at that time. At that time, geisha often sang famous poems quickly; After entering the profession, poets also measure their writing level by the popularity of poems. Pipa is one of the main musical instruments of the band in Tang Dynasty. Its shape is almost the same as today's pipa. Nowadays, Fujian Nanqu and Japanese Pipa still retain some characteristics of Tang Pipa in shape and playing method.
Influenced by Qiuci's music theory, the 84-tone and 28-tone music theory of Yan music appeared in the Tang Dynasty. In the Tang Dynasty, Cao Rou also founded the Guqin notation of subtraction notation, which has been used until modern times.
Song music
The development of music culture in Song Dynasty is marked by the prosperity of citizen music, which is deeper than that in Sui and Tang Dynasties. With the prosperity of urban commodity economy, amusement parks "Washe" and "Goulan" adapted to the cultural life of citizens came into being. In "Washe" and "Goulan", people can hear singing, singing, singing, earning and other artistic songs. You can also see rap music types, such as Cliff Ci, Tao Zhen, Drum Ci, Zhu Gong tune, as well as zaju and primitive performances. It can be said that a hundred flowers blossom. Among them, tangling and tangling have certain influences on the musical structure of later operas and instrumental music. The drum words influenced the rap music drum words of later generations. Zhu Gong tune is a mature large-scale rap genre in this period. Among them, singing plays a very important role.
Quzi music in Song Dynasty inherited the heritage of the development of Quzi Ci in Sui and Tang Dynasties and achieved unprecedented development. This kind of singing literary genre of long and short sentences can be divided into the forms of quotation, delay, proximity, beat and preface. There are already "spreading", "reducing words" and "stealing voices" in the lyrics. During the Southern Song Dynasty, Jiang Kui was a famous lyricist and musician. He not only wrote lyrics, but also composed music according to the lyrics. He has 17 self-directed and self-performed songs and a piano song "Old Hatred", which has been handed down from generation to generation. Most of these works express the author's concern for the people of the motherland and depict a quiet and sad artistic conception, such as slow Yangzhou, Meiling in Wanxi, and the response of apricot flowers. Guqin music in Song Dynasty started the Guqin school with Chuwang Guo's masterpiece Xiaoxiang Yunshui. The work shows the author's interest in loving the mountains and rivers of the motherland. In the long development of bowstring musical instruments, there was a record of "ponytail and huqin" in Song Dynasty.