Hunan Yao Chuan Taoism Music And Meishan Culture

Based upon theoretical framework of Music Ethnography, Intertextuality and Music Morphology, the dissertation gives a exhaustive analysis, comparison and study on the Yao ethnic group's ritual music for promise fulfillment in Hunnan province, ritual music of the Meishan faiths, and the relationship between them.The dissertation elaborates the ritual for promise fulfillment in LanShan county, the Yao ethnic group's sacrificial ritual for the Moundety in Zixing city and the Han ethnic group's HeNiangniang ritual of Meishan faiths in the old Meishan mountainous area in Longhui county, and then makes a detailed analysis and comparison of them so as to reveal the inner intertextual relationship between the Daoism succeeded by the Yao ethnic group and the Meishan faiths within the cultural and historical context of Meishan.Chapter 1 introduces the concept, connotation, regional scoping of the Meishan culture and related links, elaborates the connotation as well as the classification of the Daoism succeeded by the Yao ethnic group and the Meishan faiths.Chapter 2 gives complete and accurate description of the Yao ethnic group's ritual for promise fulfillment in Hunan provience, the Yao ethnic group's ritual for the Moundety in Zixing province and the Han ethnic group's HeNiangniang ritual of Meishan faiths in the old Meishan mountainous area in Longhui county by applying the writing method of Musical Ethnography.Chapter 3 analyzes the style and morphological characteristics of the above-mentioned ritual music so as to reveal the intertextual relationship between them from the perspective of music.Chapter 4 interprets the cultural connotation of the ritual of the Daoism succeeded by the Yao ethnic group, the rite of the Meishan faiths, elaborates the cultural ties between the Meishan faiths of the Han ethnic group and that of Yao ethnic group, and analyzes the intertextual relationship between the Yao ethnic group's ritual music of the Daoism and the Han ethnic group's ritual music of the Daoism by theories of intertextuality and Performance Ethnography.Chapter 5 elaborates the current status and development trends of the ritual music of the Daoism succeeded by the Yao ethnic group in Hunan and the ritual music of the Meishan faiths based on the author's multiple fieldworks.In conclusion, the study shows:1. Ritual music of the Daoism succeeded by the Yao ethnic group and ritual music of the Meishan faiths are results of the exchanging and interacting between the culture of Yao ethnic group and the culture of Han ethnic group; 2. There is a juxtaposing state existing in Meishan culture——coexistence of agricultural culture and fishing culture; 3. The two styles of rituals and their music of the Meishan faiths derive from the Yao and Han ethnic groups' inheritance, assimilation and reconstruction of "San Dong Mei Shan"(三峒梅山)faiths. The Yao ethnic group's belief system of Meishan faiths, the rituals and the sounds are of distinct characteristics of the Daoism succeeded by the Yao ethnic group. 4. Combining with the theory of "Heqiang (main structure of melody)"formulated by Prof. Pu Hengqiang, the analysis on musical structure of the Han ethnic group's ritual music of Meishan faiths in the old Meishan mountainous area (taking "He Niangniang"ritual for example) and the Yao ethnic group's ritual music for promise fulfillment shows that formulation of "Heqiang"of traditional Yao ethnic group's music has close connection with the "Heqiang of Han ethnic group's ritual music of Meishan faiths in old Meishan mountainous area. Meanwhile, the study shows that the formulation of the ritual music of the Daoism succeeded by the Yao ethnic minority group in Hunan province is the historical creation of the exchange and interaction between Yao ethnic group's culture and Han ethnic group's culture, Which also reaffirm the academic viewpoint—the Yao ethnic group originates from the "inner circle"(the original Meishan mountainous area).