Comparative Study Between "Music Association" And Wind-and Percussion Band In Quantou Village Anxin County Heibei Province

Wind-and-percussion music genre as the part of Chinese national folk music and culture heritage exists in large amount of historical literary works and ancient records. It is widely spread among civil society and imposes far-reaching effects on traditional culture. In the central Heibei Area ( Baoding, Langfang, Jingjin etc.), it exists in two forms: one is called Beiyuehui, most of compositions are used for religious ceremony and funeral rite, and it takes sheng and flute as the main instruments, this amateur musical association that is composed of unprofessional musician has the sense of affinity among the residents and provides free services for them. The famous "Yinyuehui" in central Hebei area is the representative of Beiyuehui, it's also named as "Yinyue Shenghui" or "Yinyue Shanhui". As the precious heritage of ancient music culture, it has much historical value, research value and cultural value. The other form is Nanyuehui that is popularly called in music research field. It is composed of Chuigushou i.e. the group of professional music player. They make living on playing for wedding, funeral, birthday, business opening etc. folk customs. Trumpet is the main instrument (sometime replaced by flute). Wind-and-percussion band is the representative of this form.The Beiyuehui exists for some a belief that is spread widely in rural society, and it affiliates with the existence of temple fair. The music played by it is relatively stationary and solidified with the specified rites. Oppositely Nanyuehui plays for the wedding, funeral etc. folk customs; the music compositions that it uses not only include the traditional ones but also embed the temporary music into them. In fact, no matter the rural belief or wedding even funeral etc., they all belong to folk customs category. In this paper author base on the folk custom platform, according to the analysis and comparison between the activities and music of kinds of folk customs that exists in a same geography area, trace the evolution of approach in music performing and the origin of composition and straighten out the relation among music, etiquette and custom and royal ceremony, so as to clarify the traditionalism and variability of Chinese traditional music during the process of imparting and inherit. Author takes an isolated island in Baiyangdian Lake -Quantou village Anxin county Hebei province as typical sample. There are solid traditional customs and rich activities in this area, and in the same area with the long-term historical evolution, these traditional rites and music are stiffly preserved and kept in a rather integrative and intact status. By coincidence, there exist both music association - the implement of Beiyuehui and wind-and-percussion band - the implement of Nanyuehui, author takes this phenomenon as start point of research, from different views and levels and in diachronic and synchronic methodology to complete the analysis about the traditional music.After 6 times repeat interviewing in nearly 2 years, author collected amounts of first-hand data and documents, at the same time recorded all music performed by music association and wind and percussion band, and recorded relatively traditional and integrated sacrifice ceremony and funeral rite processes, then carry out the new acknowledge about the music. According to the comparison between composition embedded with "akou" and original one; comparison between different version《Chaotianzi》played by "Yinyuehui" and wind-and-percussion band; comparison between different version《Zuitaiping》played by "Yinyuehui" and "Zhihuasi" temple; comparison and ontology analysis about "Taiping" series of composition of "Yinyuehui" in Quantou village, conclude the variability of same music in the evolution of Chinese traditional music. Through analysis on derivation of different tunes and names that evolved from the same composition, finally clarify the consistence, interaction, diversity or variation of Chinese traditional music during the process of imparting and inherit. By analyzing and investigating relatively traditional and integrated sacrifice and funeral rites processes, bring out many new acknowledge about music functionalities. By digging through diachrony and synchrony that origin from folk music and strong impression inspired in the fieldwork, author realizes that traditional music as organic component of Chinese main-stream culture not only exists and spreads widely in social life, but also in many respects it interact and depend on each other with folk customs, e.g. temple fairs, weddings, funerals, infant's full month day, business opening and promotions etc. Nowadays in rural society, the folk music band inviting often comes with some a kind of rite or utilize some a specific functionality of folk music and seldom for the purpose of entertainment only, "the music and rite depends on each other, rite shouldn't performed without music and music support nothing except rite" (Zhengqiao ). The interaction between music and folk customs lead to the creation of custom music with Chinese traditional culture characteristics. In a sense, various customs provide the media and basis for the existence and development of traditional music. Hence we can conclude that for those functional music that is spread in contemporary rural society, most of them are closely bound up with folk customs, and as a support platform, the etiquette and custom provides a broad inclusiveness and a huge amplitude.