The Textual Research Of The Historical Source Of "Qingtang Shengu" In Fushan County, Shanxi Province

Fushan gong and drum which was drum kit for being played ondrum stand was called “Shengu” in Tang Dynasty in Shanxi Province.“Qingtang Shengu” divertimento was outstanding in Fushan Shengudivertimento.Qingtang temple which is called Tiansheng Palace islocated in the north of Longjiao Mountain in the southeast of fushancounty.In the period of Taoist for the royal religion,Qingtang Templewas not only a royal ancestral hall,but also a Taoist temple.TheTaoist music which was made of gongs, drums, cymbals and otherpercussion instruments would be played in the big hurrying andcelebration activity twice-yearly,therefore,its performance formand drum divertimento had been reserved completely atpresent.And then,Fushan “Drum kit”had applied provincialnon-material cultural heritage successfully after collecting theessence of Fushan gong and drum.Based on the attention to theheritage protection and development thinking,I had accomplished agreat amount of folk interviews and field research work.Aftervisiting villages and doing the job of collecting and organizing oralhistorical materials which was been known from the old local folkartists,I found out a period unrecorded musical history.Through theinvestigation and research of the historical materials and the past evolution and present situation of performing and musical forms of“Qingtang Shengu”,this paper will trace the historical origins of“Zhentian Shengu”in Qingtang temple and find out the inner relationbetween “Qingtang Shengu” and “Fushan drum kit”.This article mainly consisted of three parts which was theintroduction, the main body and the conclusion. The introductionmainly expounded the significance, theoretical methods and theacademic frontier dynamic of the research of the “QingtangShengu”. The main part was divided into five parts.The first partnamed the basis of “Qingtang Shengu”: the drum culture of Yao andShun, firstly elaborated the historical situation of Fushan county inYao and Shun Time,and analyzed the development of the localmusic at the moment around the drum,to make readers have aoverall cognitive impression.The second part named the hinterlandof “Qingtang Shengu”:the drum band in the Fushan cultural circle,mainly traced the source of Fushan drum band from the countyannals and archaeological sites to restore the historical truth.Thethird part named the neighborhood of “Qingtang Shengu”:the Sutrapillar of the dance of Tiansheng Palace, analyzed that the Sutrapillar in Longjiao Mountain was the most significant and intuitivehistorical verificine for doing the “Qingtang Shengu”research,whichconcluded the position and meaning of “Qingtang Shengu” in Taoistmusic at that time.The forth part named the ceremony of “QingtangShengu”:the drum music for worship and celebration in Qingtangtemple, comprehensively traced the ceremony held twice a yearand the history of28associations,and realized the course and themusical form of the “Qingtang Shengu” Banshen ceremony through the oral historical materials which was been known from the oldlocal folk artists.The fifth part named the inheritance of “QingtangShengu”:“Zhentian Shengu” of Cheng village in Fushan county, tryto put the theory of folklore, sociology and cultural anthropologyinto application by analyzing the musical structure, rhythm, musicaldevelopment technique, tracks and notation and summarizing itsunique form of rhythm and tracks,to make sure this paper wouldhave a reference value in the ground of drum music research.Inaddition, this part would excavate abundant meaning of folk customand culture by the reference to previous research resultstheoretical basis,especially elaborating the cultural function ofdrum kit in sociology, to make the research tend to a deeper state.Eventually,this research has acquired the support from theproject of Humanities and Social Sciences of Ministry of EducationPlanning Fund(12YJA60097).