Haizhou Ethnomusicology Several Network Under The Vision Of The Five Modes Of Ancient Chinese Music

As a poetry singing art，wuda gongdiao was spreaded from Yangzhou and Lianghuai in the middle ofQing Dynasty. More than two hundred years of development in Haizhou, wuda gongdiao was havingmaintained the elegant, exquisite singing style, and accumulated many single tune and cycle tracks. Ofwhich [Poyang],[Dieluo],[Lidiao],[Nandiao] and [Ruanping], the five most representative single tune, sothat the local musicians regard all single tune and cycle tracks as “wuda gongdiao”. Compared researchstatus with the Fujian Nanyin, Sichuan Qingyin and Yangzhou Qingqu, local scholars, as main group, hadobtained some academic achievements in the type definition, data sorting and music structure which werequite superficial and in the primary level.In this paper, the author based on the traditional research methods which are literature study,comparative study, and survey research, and continue to use the “multivariate position net”(Duowei net) ofethnomusicology theory. He does his best to aims to comprehensive, integrity research to Haizhou wudagongdiao. In the appellation research, the author gave a history study for Haizhou wuda gongdiao; In theField investigation, the author used some theories of Ecology and gave the analysis and research on theinfluence to wuda gongdiao from changing ecological environment; In the chapter of music structureanalysis to wuda gongdiao, traditional Chinese theories of research which were some achievements frommany main experts were used in to melody and poetries. The article also unifies the communication theory,provides an overview of wuda gongdiao transmission type and distributed; In the chapter of comparativemusicology research, the author stand on the near edge of yeast culture, ecological environment andperformance characteristics, and try to have a research of putting Haizhou wuda gongdiao in the wholesong art backdrop.In the above study, the author tries to embody “multivariate position” vision of national musicology,clarifies the relationship to emic-etic, and pays more attention to objective existence of “multivariateposition” the bilateral relations. He also gives an analysis of the “multivariate position”, music type andvalue orientation. Finally, he constructed the theoretical framework of “multivariate position net” aimed atthe national music science theory and practice application at the same time, the methodology in some smalllink to achieve innovation or extension.