"folk Song And Ballad," A Book

The study of this dissertation is about a book named Yue-Fu Poem Anthology(《樂府詩集》), composed of two aspects of compiling background and the origin of materials. The title of the first part is "the compilation background of Yue-Fu Poem Anthology" which mainly represents the biographical note of the editor named Guo Mao-qian(郭茂倩), the widespread of this anthology in South-Song Dynasty and its background of compilation and musical theory. The key points are as follows:1,The editor was proberbly born in Year Six, Qing-Li period of Emperor Renzong(1046), who had a good education from childhood. Yue-Fu Poem Anthology was finished and probably inscribed in the late part of North-Song Dynasty.The Yu-Fu Poem Anthology drew much more attention by scholars than Zati Poem(《雜體詩集》) anthology compiled by him.2,The materials of Yue-Fu Poem Anthology were mainly from the classical ancient books about music and official history. In South-Song Dynasty, the vigorous development in the publication and collection provided a good chance for this book compilation.3,The musical concept of North-Song Dynasty has influenced on the books compilation and classification. Under the background of attaching importance to classical offical books and ancient music, the people of Song Dynasty completely summed up the official poems. Therefore it is the social ethos that impired him to compile this anthology. By exploring the content and resources, from Yue-Fu Anthology(《樂府集》), Introduction to Yue-Fu Anthology(《樂府集序解》),( Liu Ci-zhuang,劉次莊) and The music outline of The Ceremony Book(《通志?樂略》), Written by ZhengQiao(鄭樵),we can command the common tradition and resource background concluded and researched by people in Song Dynasty. What's more, under the influence of Li Yue concept(禮樂觀), Guo Mao-qian wrote two kinds of libretto named Jiao-Miao Poem (郊廟歌辭),Yan-She Poem (燕射歌辭)in this anthology.The title of the second part is "the origin of resources"which stresses how the author referred to the personal collection and Selected Woks(《文選》), Melodies Ancient and Modern(《古今樂錄》), and so on. The key points are as follows:1,Most of inserted notes in the anthology were written after referring to the other documents. The referent grounds are below: a)The author selected comtemporary YueZhi(樂志)as the original plate when he compiled Jiao-Miao,Yan-She and Ya-wu(雅舞) on the basis of the official history for the authority of the doctrine of Li-Yue(禮樂). b) The compositions are included according to the other references.2,The anonymous compositions mainly orignated from the musical ancient books such as Melodies Ancient and Modern, Ancient YueFu(《古樂府》)and books about official history. With the order of similar author similar topic and his explanation, we can find his adoption of personal collection reflects that he thought much of Assembly and musical ancient books.3,Guo Mao-qian compiled not only Selected Woks interpreted by Li Shan(李善), but also Selected Woks interpreted by five ministers or six ministers. Music Excerpt (《歌錄》) was quotoed from the interpretation of Li Shan that indicates his scrupulous attitude toward quotoed materials.Besides, this dissertation clearly discusses the content of Xun Shi Lu(《荀氏錄》), DaMing SanNian YanYue JiLu (《大明三年宴樂技錄》), YuanJia ZhengSheng JiLu(《元嘉正聲技錄》), through exploring the origin of Melodies Ancient and Modern. Meanwhile, the issue of punctuation in this part elementarily resolved and classified the remained YiWen(佚文) of Melodies Ancient and Modern. Compared related resource of Melodies Ancient and Modern with Assorted Anotations to Works of LiBai(《分類補注李太白詩》) by characteristic analysis, this essay trys to demonstrates that the most quotoed from The music outline of The Ceremony Book, rather than Melodies Ancient and Modern.The conclusion focuses on the classification of Yue-Fu Poem Anthology relying on the materials what Guo Mao-qian di...