Guan Hanqing, Ma Zhiyuan Musical Thought Comparative Study

In this paper, we will mainly discuss the causes, manifestation, nature, significance, similarities and differences between Guan Hanqing's music and Ma Zhiyuan's music, mainly from the perspective of the political, economic, cultural, and historical background in Yuan Dynasty, which is based on the creation of the art of Yuan verse, combining with the results of previous studies. And I am hoping that the readers have a more comprehensive understanding of the ideology in the music of Yuan Dynasty to explore the new area of Guan Hanqing's music and Ma Zhiyuan's music.This paper is divided into three parts—six chapters; the first three chapters is for the first part, mainly to explore the time and cultural background of the two scholars' music. In combination with their life and works, it is found that they hold the same 'comfortable view' of ideal life as the other scholars, but because of the different perspective on the position of 'literati'—'vulgar' and 'literature, resulting in having a fundamental difference between their ideologies.Chapter 4&5 is for the second part, which is the main point of the paper. It is based on the two poets' Yuan verses, from the aspect of creative ideal, the alliance of creation and performance, the fundamental basis, etc. to do this research. It comes out that Guan Hanqin regard the "humanism" as the core of music, while Ma Confucianism cruising the "nihilism" as the musical ideology. These two chapters is not only the respective study of their ideology, but also the hidden comparative study.Guan Hanqing's music, with "humanism" as the core, inherited the Confucian music at a reasonable idea of music, free from Confucianism and Taoism two feudal dogmas, and created a lot of Sanqu Zaju, a type of verse popular in the Yuan Ming and Qing dynasties with tonal, which reflecting the theme of love; and variety play criticizing darkness of society. Guan Hanqing's idea of "humanism" is also reflected in his works which drawing materials from the folk people and his care for his female- allies-artists, etc. He has made great contributions to the development of the music theme and genre, and his ideology of music is a thorough and important turning point in the history of Chinese literati-musical-ideology.Ma's idea of music can be divided into two periods in accordance with his own political career change. Confucius thought of ceremony and propriety and music has played a significant role in the first period of his musical life. Since he was a child, Ma Zhiyuan accepted Confucian education, and was absorbed in reading classical books. He was ambitious in the year one, eager for fame, conformed to the culture of ceremony and propriety and music, and put in great efforts to study six classical arts (rites, music, archery, riding, writing, and arithmetic). In his view, music could cultivate one's taste. Besides, he showed special preference to Guqin (a traditional musical instrument) and was very concerned about the relationship between music and politics. He experienced a bumpy career in his middle-age, thus retired into seclusion. Depressed and gloomy, he indulged himself in drink and music. Far From the Madding Crowd, he specialized in creating miscellaneous drama and Yuan "San-Ch'ü". All his works revealed a clear idea of Taoism Seclusion. Ma has achieved great success in music, and was regarded as the champion in the field. He loved folk music, and was on good terms with folk artists. The change of his thought in music can be ascribed to Ma's own personal character and the special social and political environment in the Yuan Dynasty, which reflected the personality of the intellectuals in the Yuan Dynasty, and embodied the commonness of the Confucian musicians in the feudal society. It also played an important part in the diversified music idea in the Yuan Dynasty.Chapter VI is the third part of the paper, in which the comparative study of the two's music thought is carried out. First of all, the biggest difference between the two lies in "Literati" positioning—vulgarity and grace, which results in the discrepancy in their musical direction—struggle and release; humanism and religion; people save and God save ; humanities and literati. Secondly, the faction of Guan and Ma's musical thought and their breakthrough are studied respectively. Finally, the great influence their musical thought has on the development of Yuan "San-Ch'ü" and the whole music world is explored.