The Study On The Devlepment Of Qupai In The Taoist Music

Tune in Taoist music is an important part of Taoist music, and it is the treasure of Chinese music. The development of tune in Taoist music had influenced the whole music history of China, and it had close connection with court music, folk music and literary music. Taoist culture rich in it had profound impacts on the national culture. On the basis of the development of tune in Taoist music, and of the general situation and features of it in different periods, the thesis has comprehensive and intensive research on the tune in Taoist music, and analyzes the artistic features of it in different periods.Taoism was formed in the Han Dynasty, thus it has a long history of more than one thousand years. Taoist music had concerned with culture related to wizard, and probably appeared in the Dynasty of Bei Wei. Kou Qianzhi had settled the forms of intonation of Taoist music. Bu Xu and Hua Xia Song are the earliest Taoist music.Court music was prosperous in the Tang Dynasty. The multiple-stage and large-scale artistic performance including singing and dancing, had been a representative form of music in this period. The prosperity of Yan Yue had promoted the development of tune in Taoist music, and ushered in the rise of it for the first time. Some literatures, such as Jiao Fang Ji, Xin Tang Shu, Yue Fu Shi Ji, Jie Gu Lu, Tang Hui Yao, etc. had preserved many tunes in Taoist music. Tang Hui Yao recorded:Tempo thirteen years, other musical compositions were restructured and fit into Taoist music, and it was of significance in the history of Taoist music. Taoist music, one kind of Yan Yue, had special tune. Accordingly, it linked closely to court music. The music structure in Nishang Zhongxu 1 was similar to that in existing Taoist music. Divertimento had become the main form of structure of the tunes in Taoist music in the Tang Dynasty.Folk music flourished in the Song Dynasty, and the number of tunes in Taoist music touched the peak in its history. The development of tune in Taoist music was promoted for many literators participating in composing Taoist tunes. Dao Zang recorded a large number of tunes, which could reflect the prosperity of Tune in Taoist music in the Song Dynasty. Lined musical notation in Yuyin Fashi had remote relations to Taoist Fulu, which was the overall musical notation for both vocal music and instrumental music. The line could reflect the relative relations of pitches. The symbol of circle on the score was not the pause mark, while it was a symbol of instrument performing. Single was the main structure of Taoist music in the Song Dynasty. Tune in Taoist music, composed by literators in the Song Dynasty, was characteristed by the elegant style. As time goes by, Taoist priests of Quan Zhen sect in the Jin Dynasty, became a notable composing group, represented by members of Wang Zhe, Ma Yu and Qiu Chuji. Dao Zhang recorded large number of compositions, and in the view of contents, tune in Taoist music presented the trend of secularization.In Dynasties of Yuan, Ming and Qing, the forms of music were various, and opera music developed rapidly. Tunes in Taoist music diverted toward multiple directions. Tunes with same name had different melodies in different regions. Moreover, tunes in some particular area were similar to the local folk music. Accordingly, tune in Taoist music embodied the feature of localization. Taoism delivered sermons in the form of opera, and immortal opera expressed the ideas of Taoism through secular music. Accordingly, tune in Taoist music embodied the feature of secularization. Diversification of tune in Taoist music was also embodied in its transformation from vocal music into instrumental music.