Baiyun Guan Taoist Music Phenomenon In Northern Shaanxi Jiaxian Explore

Jia Xian Baiyun Guan Taoist music in the north of Shaanxi province was originally modeled after Beijing Baiyun Guan's Quanzhen Zhenyun. But it is different from the universal Quanzhen Zhenyun and Zheng Yidao music, with rich and distinctive local characteristics. The paper, by using the existing music scores, sound information, combining previous research results, with the base point of Baiyun Guan Taoist music's morphological feature, from the origin of Jia Xian Baiyun Guan Taoist music and the perspective of the theory of music technology, is to generalize, analyze and study the basic musical form, technique of expression, organizational forms, etc. and to explore and study its multi-voice-based technical factors-symphonic nature, bitonality, texture, structure and organizational characters so as to provide a reference for Jia Xian Baiyun Guan Taoist music's visibility, readability and maneuverability. The paper is divided into four chapters.Chapter one explains the origins and main forms of Jia Xian Baiyun Guan Taoist music. First of all, this chapter is to explore the historical origin of Jia Xian Baiyun Guan Taoist music from the perspective of history and bibliography. Secondly, it is to tell the forms of contents, of performance, of the instrumental Qupai and its role of Jia Xian Baiyun Guan Taoist music's vocal part(Jingyun tone) and instrumental part, in order to help people get a preliminary understanding of Jia Xian Baiyun Guan Taoist music as a whole.ChapterⅡis to illustrate the basicl characteristics of Jia Xian Baiyun Guan Taoist music. This chapter first and foremost is to make a wide range of analyses of the morphological characteristics of Jingyun tone with four approaches-scale, tones, beats and rhythms, spin-law and the termination, musical body and structure, etc. from the point view of musical technique theory; Besides, the chapter is to make a simple analysis of Jia Xian Baiyun Guan Taoist music's morphological characteristics and multi-forms of expression in terms of the characteristics of the instrumental part of the modal scales and modal characteristics, conversion way, and the firing characteristics of the rhythm of percussion instruments so as to enable people to have a good knowledge and better understanding of it. Chapter III is to make an explanation of Jia Xian Baiyun Guan Taoist music's harmony factor. This chapter describes the application features of it:first, the choice of harmonic material. In Jia Xian Baiyun Guan Sheng tube multi-voice music, the harmonic interval is the main harmonic material of multi-voice music, followed by the multi-tone. As a result of the influence and constraints of modal composition factors and the composition ways of branch voice-type, it focuses on five adjust type natural interval, followed by the other intervals. Second, the melody of harmony-the logical thinking in mode. At present, there is no definite harmony system in Jia Xian Baiyun Guan sound music, but the harmonic interval's movement is shown through the modal logic of the melody of voices. Third, among the instrumental composition of Jia Xian Baiyun Guan, the existence of multi-voices in percussion instruments has formed harmony-type rhythm and texture with special characteristics. When the percussion plays the group performance or unison with two or more "tone", the harmony phenomenon will appear. In addition, most percussion appear to be rhythm-based accompaniment of the main melody(Jingyun tune, Sheng pipe music).In practical performance, when the instruments of different properties make use of their respective specialties, it will be some sub-part and multi-voice phenomenon, thus to enrich the diversity of the unison of percussion and Sheng pipe.Chapter IV is to make an illustration of polyphonic factors of Jia Xian Baiyun Guan Taoist music. This chapter analyzes the polyphonic factors of Jia Xian Baiyun Guan Taoist music from Sheng Pipe's branch voice of polyphonic factors, the rhythm of percussion ensemble in contrast to polyphony and the multi-layer opposite characteristics among Jingyun tunes.The paper is to help the readers get a comprehensive understanding of Baiyun Guan Taoist music by means of the explanations of all its music technological features. In a sense, this paper is to be a book of the giving or receiving of the religious activities of the masses, and also a certain reference of visibility, readability, operability in the course of transmission in order to make up the deficiencies of mouth-to-mouth telling and teaching. Moreover, it as well can help successors, cultural policy-makers pilgrims, along with the public to get a deeper understanding of the traditional cultural value and respect it in order to better carry forward the culture of Baiyun Guan Taoist music.