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The Research Of Court "Ya" Music From West Zhou To Tang Dynasty

Posted on:2010-09-16Degree:DoctorType:Dissertation
Country:ChinaCandidate:Z H CaoFull Text:PDF
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Elegance and popularity is an important problem in Chinese cultural history andChinese artistic history.In ancient China,elegance and popularity has particularmeaning,mainly refers to Ya music and folk music (Zheng Wei Music),whileadvocate elegance debase popularity has always been the ideological views oforthodox confusion scholar-officials.But in recent several decades,the status andfunction of Ya music in musical history and cultural history,has never been affirmed.Academic circles has also rarely pay attention to the evolvement history of Ya music.China is usually proud of"the nation of ritual",ritual and music culture isconsidered as the core content of Chinese traditional culture."ritual and musicshould",Ya music occupies significant status in traditional ritual and music culture.With the development of the protection of"Intangible Cultural Heritage",Ya music asa vital"Intangible Cultural Heritage",Korea and Viet Nam has been emphasized on it,and partly comes into UNESCO"Human Oral and Intangible Cultural Heritage"representative works list.The development history and re-cognize the value ofChinese ancient music---Ya music heritage has been no time to delay.Ya music was initially formed in West Zhou Dynasty"making ritual andcomposing music".Generally speaking,Ya music is Zhou tribe its own music."Ya"is"Xia",is referred to Guanzhong area old region of Xia people.The language of ZhouPeople has called as"Ya Language",so the music of Zhou People go without sayingis"Ya music".Ya music of West Zhou Ya ritual and music system includes the musicof suburb temple sacrifice and Ya banquet ceremony,also contains inheriting andconsolidating the ritual and music of suburb temple in Pre-Zhou Dynasty.Thuscomposed such as"Six Music","Six Small Dance"etc suburb temple,Ya banquet,honor guard generally speaking"Ya music".In addition to,Ya ritual and music is alsoincluded"Feng"from north countries,and"SiFang Yue","SanYue"from remotecountries.Zhou People enfeoff state and establish country,carrying out patriarchal clansystem in the whole country.With ritual and music system extended,Ya music hasinfluenced to every dukes' country and remote peripheral country,that is tool of ZhouPeople to strengthen spiritual dominate,and also becomes the cultural symbol ofChina high development.Completed in later generations<Zhou Li>,<Yi Li>etcliterature,have detailed trace back to Ya music.Although these literatures have beenidealized processing,it also reflects which is submitted to ritual system"Ya music"essential influence. "Ya"Music not only has the generalized concept,but also has the narrowconcept,and also constantly changing in its historical process.In late Chunqiu,Confucius facing the increasingly serious"Destruction of rite and music system",displeasure"If this can be tolerated,what cannot?",take recovery of the West ZhouRitual as the mission,he clearly puts forward the concept of"Ya"Music as elegantlegitimism.He earnestly practices carrying out the ritual and music education andcondemns which has the formed challenge versus"Ya"Music—ZhengWei Music.But Confucius preach"Ya"Music,more or less change and enlarge the characterand range of West Zhou.He leads the students"three hundred poems"all playingqin and singing,generally speaking three hundred poems"thinking without evil".Buthe neglects the distinguished the formerly Song,Xia,Feng of"book of songs",inConfucius mind's the Feng of fifteen country is totally becomes"Ya"Music.With theera substitution,social development and cultural prosperity,the connotation andextension of"Ya"Music has gradually enriched and enlarged."Ya"Music of eachdynasty also makes a breakthrough than the former dynasty.From Pre-Qin Dynasty,various ideologists has already around the problem of"Ya"and"Su"expands intense argumentation.The rulers of each dynasty establishedhis own ritual and music has also pay attention to this problem.And initiatedhistorical bifurcation and controversy,but still not generally distinguished theconnotation and extension of"Ya"Music."Ya"Music as the important aspect of the ruler's ritual and music domination,because of the limitation of political factor,it usually manifests more fossilizationcharacter in music aspect,and also be considered as the empty shell of the ritual andmusic system.But begin with the historical truth,we can clearly see that theconnotation and extension of"Ya"Music has concrete change in different dynasty.The development of"Ya"Music unseparate the artistic nourish of"Su"Music.Wecan see many truth of the convert between"Ya"Music and"Su"Music in literature.The Music of"pre—emperor"in the ruler's ideology has more come from folk musiccomponents."Ya"Music and"Su"Music could be converted upon certain condition andenvironment.The western literary theory of 21 th century emphasizes on the text andcontext,the same text in different context could generate completely differentcharacteristic.Wide view on the development evolution of"Ya"Music and"Su"Music in Chinese ancient history,we can clearly see that"Ya"Music and"Su"Musicboth opposite and unified,both comparative and existing,they can be converted andintegration in certain condition. This dissertation focuses on from West Zhou to Tang Dynasty as research object,concentrates on"Ya"Music of different dynasty.Mainly discusses on the range of"Ya"Music and its ritual function,cultural attribute,deeply excavate the profoundsignificance behind the core of ritual,attempts to reveal the deep cultural significanceof"Ya"Music.
Keywords/Search Tags:"Ya" Music, Ritual Music, Destruction of rite and music system, Intangible cultural heritage
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