The "Tuning" Theory Of "Ci" Poem

As the type of "Tuning" literature, Ci Poem is different from normal verses. The traditional vocal poems are chanted according to "Toning of Individual Characters", which were originated from the tradition of "Singing upon Diction ". While "Indite for Tuning" generated the "Poets' Lyric" in terms of "Sentencing against the Music Text". People of Sui and Tang Dynasties preferred vulgarization to Confucianism, consequently, pop literature arose so as to completely harmonizing with pop music. During the golden phase of Tang Dynasty, the imperial music office had been set apart from the royal department that controlled the music of ritual, as having been wholly engaged to folk music, especially for singing and dancing. This is the "Tuning" origin of Ci Poem.As the chief instrumental music, the lute composition belonging to "Band Be-seated" had urged the coming forth of central tune with its frequent musical clappers, as per 3-words express cadence, representing the leading edge of music during Tang Dynasty and the Ten Nations Historical Phase. Poets started to indite for entertainment by sentencing against such music cadences, bringing the poetry anthologies forth, such as "A Collection in Flowers" and "Along with the Goblets" etc..Accompanying with the cultural flourish of North Song Dynasty, as well as the prosperous vision of Confucian ethical ideas and music, the literati began to advocate for the positive and righteous tones, in order to eliminate the vulgar culture by encouraging the penetration of Confucianism. The imperial music office of Song Dynasty had been returned to the royal department controlling ritual music, so as to be technically responsible for music of conviviality. As the result, the "Band Be-seated" composition was then eliminated by the Tartar pipe as the chief instrument instead, music was slowed down, so as the tempi. In such a background of "Reforming Old Tunes into New Ones", Liu Yong composed "Lyric Collections" of vulgar words, depending on his abilities as wit of bosom friend, thus imperial music of the time was promulgated in form of these songs. The imperial music protocol for dinner parties was so popular at the moment, as "Liu Yong's lyrics were sung wherever a well could be found". Therefore, the Ci Poems in Song Dynasty had surpassed its former works in either Tang Dynasty or the Ten Nations Historical Phase.However, the acts that interfused vulgar words into lyrics for ceremonial classic music had induced a severe argue against within the literary world. As the leader of the generation, Su Shi took part in the inditing of Ci Poem, in order to "upright" the vulgar ones into polite letters. Unfortunately, such works could hardly be harmonized while singing, thus the lyrics were not so acceptable at the moment. The Emperor Hui of Song Dynasty paid intensive attention among classical arts and literatures. He promulgated music office named "Da Sheng", prohibited vulgar contents, super-induced "3" and "5" melodies, re-ordered "1" and "2" tonalities, the music of imperial office had been completely purified and enriched under the direction of Confucianism. Meanwhile, Zhou Bang Yan used to introduce new melodies for "Tuning", such lyrics were reverted perfectly both in literature and music, representing the peak of Ci Poem in Song Dynasty.After moving to the South, the music protocol for dinner parties were abolished, and the mine of "Tuning" were dried up day by day. Depending on his full command of music, Jiang Kui began to fight another way for "Tuning" by composing songs and music privately. His works were panegyrized by literates who promulgated for the application of "Chinese 4 Tones" during composition. Consequently, less and less literates could understand the "Tuning" theory, and the music of Ci Poem died out eventually.