On Tones In The Early Period Of Northern Song Dynasty

The early period of the Northern Song Dynasty is the transition period of Tang and Song music.The article takes the new and the used tunes in this stage as the research object.In the perspective of literature and music,the article takes the music,literature and cultural attributes of the tune,and makes a macroscopic combing and microscopic analysis of the creation and extension of the tune,and then show the process of evolution of Tang Yin Song tune from the meaning of the history of the tune.Seven chapters contained in this dissertation fosus on the following aspects respectively:First,the music source of the tune in the early period of Northern Song Dynasty.Tang Jiaofang songs and the ancient songs in the Sui-Tang Dynasties,Song Jiaofang songs and the drum music,folk new sound,Literati songs together constitute a rich source of the tune.Advocated the drum music into the tune,shows the beginning of the court to participate in the lyrics.The new changes in the name of the folk tune reflect the transformation of the culture in Tang Dynasty and Song Dynasty.Literati songs reflect the the literati further recognition of words with the voice.Second,the Gongdiao system in the early period of Northern Song Dynasty.Zhenzong period gradually formed seven gong twelve tune of Yanyue Gongdiao system.To 1117 AD for the boundaries,Yanyue Gongdiao has adopted the two system of "Weidiaoshi" and "Zhidiaoshi".Researching the theory of Yi-Yue-Yong-Lv(the correct use of sheet music according to each of the twelve months in a year)needs to clear its foundation of Diaoshi.The poet's daily lyrics creation not accord to the law with the month.In the Southern Song Dynasty,Yang Zan and Zhang Yan pursue the the etiquization and elegance of Ci thus formed the dilemma of Yi-Yue-Yong-Lv.Third,the extension and new change of tone type in the early period of Northern Song Dynasty.In Song dynasty the connotation of the Lingci shows the multi-evolution from the drinking ling to the temperament ling.Liu Yong vigorously create Manci.The frequent use of virtual characters and the use of Puchen skills,both adapt to the music transformation in Tang Dynasty and Song Dynasty,but also adapt to the development of the new trend of the Ci itself.Although the number of Yin tune and Jin tune is small,their creation and development reflect the prosperity of the music in Song Dynasty and the new ways of the formation of the tune in Song Dynasty.Fourth,the variation and combination of the tune in early period of Northern Song Dynasty.On the basis of original tone,the transfer,the crime,the chapter group produce a new sound characteristics or performance.As a musical and cultural phenomenon,"zhuan diao" and "fan diao" reflect the poet's musical skills,at the same time they are affected by the poet's musical thought,music fashionand and regional musical culture of their living area.LianzhangCi in early period of Northern Song Dynasty develops new features of times in content and form and the use of the tone.Fifth,the development of rhyme and sentence of the tune in early period of Northern Song Dynasty.At the beginning,words more to adopt the ping rhyme and it shows a strong inertia in poetry law.The growth of the ze rhyme and ru rhyme is due to music elements's constraints for ci gradually enhanced.The zhuanyun ci is fading away from late Tang Dynasty to early Song Dynasty.This is associated with the type of popular lyrics in Tang and Song Dynasty.From the Tang Dynasty into the Song Dynasty the style of the dominant sentence,sentence combination,the rhythm of the sentence have undergone great changes.Ci break the syntax and rhythm of the poem by the power of music.Ci re-call out the vitality of other sentences and develop a unique syntax rhythm.This process is basically completed in early period of Northern Song Dynasty.Sixth,the emotion of the tune in early period of Northern Song Dynasty.This chapter makes a special discussion on the relationship between the emotion of the tune with Gongdiao,the relationship between the emotion of the tune with the instrument,the construction of the knowledge of Shengdiao.Take "Qingbeiyue"as an example,test its origin,distinguish its sound,and then explore the law of rhetoric.Seventh,the naming,application and flow of new tones in early period of Northern Song Dynasty.It is an important aspect of tune study,which is concerned with the cultural connotation of the tune's name and the spread of the new tune.This chapter makes a detailed analysis of the linguistic features and class distributions of the new tune in early period of Northern Song Dynasty,and investigates the synchronic transmission and the later spread of the new tune.Take Liu Yong as an example and sort out the close relationship between Liu ci's later accepted with Su Shi,Chao Buzhi,Zhou Bangyan,Wang Zhe and so on.