A Study Of Dunhuang Music Literature

In the narrow sense,"music literature" refers to all kinds of verse combined with music,while in the broad sense,it refers to the combination of prose,music and dance.Rao Zongyi once divided Dunhuang music writing literature into those without music and those without music.For this reason,the "Dunhuang Music literature manuscripts" we discuss mainly refers to the extant music and dance manuscripts in Dunhuang Sutra Cave,including song lyrics and music scores.The songs contain tunes,sound poems,practical songs,etc.,and the music is different from music score and dance score.Based on this,the thesis is divided into four chapters.The first two chapters focus on the "Ci" part,and discuss the connotation and extension of Dunhuang tune Ci and Dunhuang sound poetry.The last two chapters focus on the part of "score",which discusses the structure of the score characters and the mechanism of the command for Dunhuang musical scores and dance scores.The first chapter explores the nature and scope of Dunhuang Quci,aiming to distinguish the Dunhuang Quci from the literati ci of later generations.That is to say,Dunhuang Quci is composed for the Sui,Tang and Yan music,which relies on the melody,rhythm and pitch of the music,rather than the clear sense of ci style.At the same time,the classification,sorting out and sorting out the phenomenon of the same topic and different writing of Dunhuang tunes is to investigate the evolution of tunes and lyrics in Dunhuang region from the perspective of writing,combining the identity of writers,the use of writing texts and the preservation place.The second chapter is to study the nature and scope of Dunhuang vocal poetry,aiming to distinguish it from Dunhuang Qu Ci by definition,that is,Dunhuang vocal poetry is born according to the tune and set Ci,so the song phrasing is mainly composed of miscellaneous words.The generation of Dunhuang vocal poetry includes two kinds of lyrics and selected ci music,and the song phrasing is mainly composed of unified words.At the same time,the discussion of the controversial "harmony filling reality" and its four variations is to prove the origin of long and short sentences from music theory practice,that is,the long and short sentences of miscellaneous words are not from the filling reality of Qi yan,but from the relationship between the duan style of ci and music,the relationship between Jun beats and the rhythm of music sentences.Finally,this paper classifies the Dunhuang acoustic poems and makes a supplementary explanation on the phenomenon of different writing of the same topic.It also examines the storage and circulation of acoustic poems in Dunhuang from the aspects of the writer’s identity,the use of manuscripts,the preservation place and the nature of manuscripts,so as to further substantiate the social historical materials of Dunhuang.The third chapter investigates the strings,beats and related notation of Dunhuang ancient music score,in order to clarify its musical structure and scale mode,and begin to translate the score into the familiar modern music.At the same time,it is determined to be the wine song and dance score of Tang people in nature,which lays a theoretical foundation for the coincidence with Dunhuang song and Ci.Finally,based on the basic connotation of Dunhuang tunes and Dunhuang sound poems,the composition rules of tunes and tunes are determined from the structure of paragraphs,the division of phrases,and the trend of pitch,and the composition and performance of the coexisting tunes of Dunhuang music manuscripts such as "Qing Bei Yue","Man Quzi Xijiang Yue","Man Quzi Yizhou" and "Shui Gu Zi".The fourth chapter examines the content and nature of Dunhuang dance score,in order to confirm that the Dunhuang song and dance is really the Tang Dynasty dialect score,which is used in the same field as the Dunhuang tunes,Dunhuang sound poems and Dunhuang ancient music score,all in the wine banquet of the Tang people.At the same time,the research of Dunhuang dance score rhythm,rhythm,marching rules is to lay the foundation of music theory in practice,so that it can be further consistent with the song lyrics,music score.This paper integrates Dunhuang music literature manuscripts around the two themes of "Ci" and "score" to break through the original discipline barrier,that is,through the rhythm and rhythm of Dunhuang song and dance,music,dance,integrated a variety of disciplinary means to explore the internal personality of Dunhuang song and dance art in the Tang and five dynasties.