The Traditional Of A Drum Wind Music Band

In the quite long historical period from the establishment of Yue-Ji system in the Northern Wei Dynasty to Yongzheng Emperor’s prohibition and abolishment of the system in Qing dynasty, Yuehu, as the professional musical artist under the provision of Yue-Ji system has the humble position and social status by providing service for court, regional feudal government’s use of music and various application of music. Such professional musicians worked in the court or the regional are called musicians affiliated government. This paper focuses on the Zhang’s wind instrument and percussion band, which is original, the group of government affiliated musicians in Pangjiazhuang village in the town of Niuquan, Laiwu city. In history, their ancestors had serviced for government etiquette in Yamen and they inherit the national ritual. After the prohibition and abolishment of the Yue-Ji system, they are changed into a part of folk etiquette and custom, inheriting it to the present.Zhang’s wind instrument and percussion band lived in the west of Laiwu in the late of Ming dynasty. It has no clear record about their identities of government affiliated musicians. However, there are many expressions about the family members’service at the government’s musical use in the history of oral account, which reflects the connection between clan musical band and the historical Yue-Ji. For example, the ancestors once drummed and played in the heaps of times for the taking of new official posts and the relieving of the honest and upright officials. The concerted effort melody is usually used to greet the new officials while the farewell melody for the send-off of honest and upright officials with the main instruments of four gongs and eight horns. In the Qianlong period of Qing dynasty, Zhang’s wind instrument and percussion band once played the musical instrument for the princess’s marriage with Kong Xianpei in Qubu (1756-1793, Kong is the72th grandson of Confucius) in their marriage’s grand ceremony. In the55th year of Qianlong period, Zhang’s wind instrument and percussion band took part in the emperors’sacrificing Mountain Tai grand ceremony which takes delight in talking about by the family members. By taking the oral history as entry point, this paper discusses diachronically the Zhang’s wind instrument and percussion band’s origins and developments by combination of the field investigation and searching literatures. This paper also studies the internal motivation and external reasons for the changes and changelessness of the inheriting of etiquette and custom and ceremony music and analyzes synchronically the reasons of the relation between Zhang’s wind instrument and percussion band and the other wind and percussion bands in terms of their inherited songs, etiquette and customs they serviced. The significance of this study is to understand the internal relevance between a band’s bearing and the Chinese musical cultural traditions through the current status understanding and master of the band’s inheriting and folk etiquette and custom music.The reason for the relative invariability of the music traditions by Zhang’s wind instrument and percussion band is the common people’s cultural identity for the national ritual’s transformation into the folk etiquette and custom, which is the vulgarization of the national ritual. Musicians’service for the national ritual is changed into the folk etiquette and custom. There is corresponding and the sustainable development between the ritual etiquette and etiquette and custom in terms of music, which is the significance of the regional inheriting for a band’s bearing Chinese musical culture tradition after the removing the identities and the changes of service objects of the government affiliated musicians.