| Taking the Sui Dynasty as the center of the time axis,the chaos of the ceremonial music are before,and the prosperous elephants of the Tang’s ceremonial music are behind.It can be seen that the Sui Dynasty was a turning point in the history of ancient Chinese ceremonial music.However,looking at the current academic achievements and documents,the overall study of ceremonial music in the Sui Dynasty has not received the attention it deserves.This novelty takes the Sui Dynasty ceremonial music as the point for studying,and no longer focuses on the process of Kaihuang Yueyi(开皇乐议).Instead,it focuses on the temperament,instruments and music of the Sui’s ceremonial music to reveal that the Sui Dynasty was a link between before and after.In temperament chapter,firstly,studying the formation of Huang Zhong Yi Gong(黄钟一宫).The formation of the theory is directly related to emperor and He Tuo.Therefore,the theory has the dual attributes of politics and music,and it is more political than musicality.Subsequently,studying the practical of Huang Zhong Yi Gong.There has distinction between theory and practice,and the political nature gives rationality to this phenomenon.Finally,we discuss the Zu Xiaosun who connected the Sui and Tang’s ceremonial music.In instruments chapter,we focused on the Sui Dynasty’s system of Yue Xuan(乐悬),Deng Ge(登歌)and so on,which proves that the system of musical instruments used in Sui dynasty’s ceremonial music has inherited the Zhou dynasty and made changes to meet Sui’s need.Then,instruments of the Sui’s ceremonial music are introduced.In music chapter,we studying the fifteen tunes of Sui’s ceremonial music includes Xia(夏),Wen wu&Wu wu(文舞&武舞),Fang Zhong Yue(房中乐),Jiao Miao(郊庙),and Deng Ge.By comparing the ceremonial music in the Sui with Tang’s to reveal the relationship between the Sui and Tang Dynasty.The novelty studying about temperament,instruments,and music in the Sui’s ceremonial music to demonstrate the significance of the Sui Dynasty in the history of ancient Chinese ceremonial music. |