The Textual Criticism Research Of The Songs In Tang Jiao Fang That Saved In Tang "Wu Xian Pu"

There are two peaks in the process of the development of Chinese music history,one is sacrifice ritual music in the Pre-Qin period,which represented by Zhong Qing dancing,and the other one is mediaeval music which represented by Yan music during Sui and Tang dynasties.Music art reached its peak in Tang dynasty,and the theory and thought of music also reached a very high level. The western music spread into Tang dynasty by"the silk road".Tang music absorbed the excellent cultural achievements from different counties,and formed a new music art. The development of navigation technology made the "Maritime silk road"possible, and China closely communicated with east Asia countries by "Maritime silk road".Korea. Japan sent many envoys to China many times.Envoys learned Chinese Politics, economy, culture, architecture, art, ect. And they took a lot of historical materials, musical instruments and other excellent cultural achievements away when they left. After the " Zhen guan period" and "Kai yuan prosperity" Tang dynasty began to decline gradually."An-Shi Disturbances" destroyed a lot of excellent culture of the Tang dynasty, disorganized the "Li yuan" and "Jiao fang" witch are organizations where musicians are trained. At that time, many excellent critics became destitute and homeless, and the method of recording music score was not so successful as now, therefore a lot of excellent music theories, music scores and skills lost.In Tang dynasty, Pipa plays an important role in the music with melody and the Daqu of Yan music dance.Especially the discovery of "the five strings spectrum of Dun huang "and "The Pipa spectrum of Tian ping" and "the five strings spectrum " attracted attention of domestic and international scholars.They begin to do the textual research and studying of the Pipa spectrum of Tang Dynasty,which tries to restore the music of Tang Dynasty.And it has made certain achievement." Such as:Yedong interpreted the Tang wuxianpu,who also makes the lyrics.He changlin interprets the spectrum and analyse" the five strings spectrum". The Japanese scholar Lin Qiansan interprets the ancient spectrum and makes the new spectrum as the phonograph record and then releases the album. Huang Xiang peng, a musical historian, puts forward a new research method," the tune textual research" which is used to restore the ancient music.A musical historian, Huang Xiangpeng,in order to recover the ancient music,puts forward a new method—the textual criticism of melody. Then his followers stood on the ground and used this new method analyzed the songs saved in Shanxi WuTai Mountain,Beijing ZhiHua Temple, and had proved ’YIjinagnan","Chao tian zi",belong to Tang Dynasty."The textual critics of melody" is a kind of textual research, which is according to the theory of music, the theory of rhythm, the relationship between words and tones, the characteristics of musical culture and other factors in different periods of musical history, to identify an ancient song which was kept to this day.The most impotant point in this paper is that using the critical methods of the tune textual researching, based on the domestic findings, stand on the spirit of practical, to study the Tang Wuxianpu saved in Janpan.This paper has five aspects:Chapter 1, The background information of the spreading of tang Wuxianpu.Tang music score of Chinese operas saved in Japan. The academic value of Tang Wuxianpu. The achievement of translation of tang Wuxianpu. The textual criticism and methods of melodyChapter2, The phoneme and spectrum in "wuxianpipa".The research common view of the phoneme and spectrum. The research divergence of the phoneme and spectrum. The tuning up in all tones in "wuxianpipa". The Syntegra and measure in traditional Chinese music in the translating melodyChapter 3, the powerful and official evidence in the records saved in ancient documents, the textual critical is the basic step of the critical melody. We find the same song between the Wuxianpu and Jiaofangji, compare and make further explanation, to make preparation for later research.Chapter 4, In the research of the modes of ardent Chinese music of Tang Wu xian pu,it combines the tune name written in the literature in Tang vulgar and the 28 scales of Tang vulgar music, compared with Lin Qiansan, Ye Dong and He Changlin’s translation, to criticize whether the six songs is belonged to the Tang "Jiaofnagji’or not.Chapter 5, The analysis of some issues in Tang Wuxianpu’s textual criticism,to probe the problem that found in the processing of criticism, which in textual research of the melody.