Music With Glory To Cultivate One's Morality Terms

This dissertation is based on first-hand materials recorded and notationed in my field work in Dali Yunnan province southwest China. The object of research is the Donjing music which is popular in a number of people such as the Han, and the Bai ethnic group, and it is performed by associations of Donjing music. My research has been focused not only on the function of the ritual music of Taoism, Buddhism, Confucianism, and Benzhu faith (which is a natural religion of Bai ethnic group), but also on studying Dongjing music as a folk music.First, it is the important to study the cultural context of Dongjing music, with special attention to the research of religious rituals which are influenced by Taoism, Confucianism, as well as the commercialized society and its media.The second objective is to explain the relationship between Donjing music and cultural structure of the ethnicity, economy, society, religion by studying the deep structure of Bai’s Dongjing music and its relationship with the instrumental music of silk and bamboo by researching the form, technique and model.Third, the author analyzes the meaning of Dongjing music in rituals and its role in the belief system from an insider’s viewpoint, and tries to achieve a balance between the inside and outside viewpoint in the analysis and comparison method. Furthermore, this research tries to explain the interaction the cultural foundation of Dongjing music, its interaction with the Dongjing ritual and the belief system as well as the religions embodied in Dali’s Dongjing music.Chapter1analyzes the development of Bai’s culture from the perspectives of history, society and religion, and their influence on the modern society.Chapter2studies the history and present situation of the association of Dongjing music based on the field work. It studies social identity, cultural context, the value system of the pioneer of Dongjing’s association.Chapter3is focused on three kinds of the religious rituals and the associated musical performance from three places in Dali county. Their relationship has been explained in terms of religion, ritual as well as music.In chapters4,5, and6, I have categorized the Dongjing music into three levels:the core level, middle level and outer level, based on its relationship to the religion, scriptures, and ritual function. It also analyzed the music of Taoism, Buddhism, Confucianism from perspectives ranging from musical forms to faith systems. Moreover, this chapter studies the deep structure of Donjing music under the stable and unstable situation. In Chapter7, I employed the theory of intertextuality to explain the complicated relationship between actual performance and recorded notation of Dali’s Dongjing music, and explained the relationship between traditional forms and variants of Dongjing music.Chapter8is about the social function and meaning of Dali’s Dongjing music in the different stages of Dongjing association, and the function of Dongjing music as a folkloric music.The last chapter is analysis of deep structure of Dali’sDongjing music which includes its musical and cultural form, its model and variant model, and the relationship between the its model and the local culture.In sum, Dali’s Dongjing music varies in its religious belief system, it musical composition, it role in rituals. Association of Dongjing music nowadays face the impact of a multi-cultural society, which increases the variation and Dongjing music change in response to these societal and cultural factors.