The Book Of Songs And The Instrumental Music

The topic of the Book of Songs and the instrumental music is based on the following considerations. First, it is in accordance with the orientation of the author's teaching and research. With a Long practice since childhood and a four-year major at college, zheng has been the most familiar and interest to the author. Also, the teaching career at college after graduation and papers written are all on or about zheng. Therefore, the orientation to make progress on the Chinese national instrumental music and the hope to pursue advanced studies in this field urge the author to further her study in this field. Second, it is based on the academic consideration of making study from the fountainhead. The author has studied such courses as the history of Chinese classic music, history of aesthetics, and history of instrumental music, and also has read many research books of or about this field; however, she finds in regret that such knowledge indirectly received from these books is not firm. Therefore, the Book of Songs and the instrumental music is taken as her study topic for the purpose of getting some new discoveries herself with careful collation, examination and evaluation on the firsthand materials collected when cutting into the field of Chinese national instrumental music from the fountainhead. Third, contending vigorously to make new open-ups and discoveries. It is found that many books and articles follow the accepted theory put by Yang Yinliu when talking about the relationships between instrumental music and the Book of Songs, which arouses the suspect to the perfection of the research of Mr. Yang. With the re-examination to his view that the number of instruments mentioned in the Book of Songs is 29, this means that he does not make a deep research to the relationship between the Book of Songs and the instrumental music of the pre-Chin period. Furthermore, his research just presents a general outline of the form of music to the Book of Songs. I further find that few people have made research about the relationship between the Book of Songs and the instrumental music. The choice of this research topic is actually aimed at the acquiring of new discoveries and findings to fill up the academic space in this field.This research topic is comprised of six chapters. Some of this work is done to make corrections, complementariness and advancement to the research findings of the former and contemporary worthies, and some is to open up new path and fill up space by new discoveries. Concretely, its main contents and new discoveries are the following: chapterâ… presents a systematic and overall deep discrimination of the musical features of the Book of Songs with the conclusion that the music score of the Book of Songs is the book of classic music. Also, it further points out that the strained explanations to the book of classic music and the so-called scattered and lost chapters and articles in the book of classic music are undependable. This is the base of the following chapters. Chapterâ…¡presents a concrete and overall research to the 28 kinds of musical instruments and the situation of their distribution and combination, and thus corrects the wrong idea that there are 29 kinds of musical instruments involved in the Book of Songs put forward by Mr. Yang. This paper evades some topics such as structure and design of the instruments, which have already been long in the focus of the research. It also presents some detailed analysis on the four distinctive points about the distribution of the instruments involved in the Book of Songs. Chapterâ…¢presents a systematical and overall research on the cases, characters and distribution of the solo (with one instrument), ensemble(with two or more instruments) involved in the Book of Songs with primitive exposition. Chapterâ…£on the basis of the research achievements of Yang yinliu and Ou Lanxiang, this chapter presents an analysis to the music forms of the 305 poems in the Book of Songs respectively, and then induces into 6 categories, namely one-paragraphed, reappearing, the main and refraining, appending , circulating and coordinating forms and some other smaller categories. It further expounds the national and the characteristic of their times in three distinct aspects according to the popular theory and principle of music form analysis, combining the characters of the Chinese national music. Chapterâ…¤, presents a systematical and overall research on the accounts in classical books and unearthed materials about the stringed songs, poems accompanied with sheng, vocal accompaniment, intermezzo and ensemble, etc. Also, it probes into the promotion and contribution to the national instrumental music of the Book of Songs, presenting concretely and authentically the circumstances of the development of Chinese national instrumental music from the Western Chou to the mid-Spring-and-Autumn period. Chapterâ…¥primitively presents a many-sided many-leveled examination and analysis to the distinctive of the function and aesthetics of the instrumental music play in the aspects of pragmatic, entertaining and the beauty of focused harmony with the consultation to the related research achievements.The significance of this research topic lies in the following. (â… ), It can fill up some academic space as for the research to the Book of Songs from the angle of national instrumental music ,which can deepen the research to the Book of Songs and ensure the achievement is primitive and original. (â…¡),This research topic concentrates on the promotion and contribution of the Book of Songs to the development of the national instrumental music when consulting the Book of Songs and other classical books of the pre-Chin and Han period, which can provide more help in concrete and thorough understanding to the development of Chinese national instrumental music during the Western Chou to the mid-Spring and Autumn period. (â…¢) ,This research topic can provide convenience to the deep research and concrete compiling of the history of Chinese music and the history of the Chinese instrumental music.The research methods applied in this paper are the followings. (â… ),Method of simple study. It means that the materials appear in the paper should be firsthand, and textual criticism and exegesis are also stressed. This is one of the most fundamental and important methods in the study of ancient culture. As for materials collection, the author pursues to drain the pond to get the fish. Each conclusion drawn in this paper should have enough evidence. Groundless assertions and flashy words are strictly avoided. (â…¡), Method of historical and logical dialectical unity. This is the key to the paper writing. The problems involved in this paper are objectively described according to their concrete circumstances of the times. Furthermore, the objections and comments are conformed to the inexorable law of the development of the objects and, furthermore, all the induction, generalization and deduction are applied with the scientific logical thinking.(â…¢), Dual demonstration with mutual verification of the written materials on the ground and the archaeological materials underground. It is indispensable to study the culture of the pre-Chin period. The historical books and documental materials available are carefully collected and consulted in the paper writing. The archaeological materials, especially the new archaeological achievements are also generally followed with great interest. (â…£),Quantitative analysis. The status quo, categories and reciprocal relations can be studied through accurate statistical data and charts analysis, which makes the indefinite phenomenon more definite and explicit. This method is applied to deepen the grasp and understanding to the characters, quality, function and influence of the instrumental music in the Book of Songs with the solution of the involved problems.(â…¤) Attention to aesthetical evaluation and the combination of the macroscopic and microcosmic are also maintained throughout the paper writing.