Li Yu's Study Of Music Thoughts

From the perspective of cultural development and cultural heritage,the period of the Five Dynasties is the turning point in Chinese feudal culture change from aristocratic culture to the secular one.Although the split situation of the Five Dynasties is shorter than the Wei and Jin Dynasties,more than 400-year division history does not have the conditions of cultural integration and precipitation.The decline of the Tang Dynasty and the rise of the Song Dynasty,from the transfer layer of the Five Dynasty's seventy years in history,have a significant influence on China's traditional culture since it provides a "moment" respite.During these decades,Chinese still keep the continuation of the traditional culture essence of Tang culture,and the strong rise of the secular culture owns the consistent characteristics:eclectic and timing.Therefore,the early rise of city economic prosperity in the Song Dynasty led by the secular culture does not have a strong impact on the inertia of the traditional culture.That the noble culture has always been "fragile" actually is not so fragile because the two cannot withstand a single blow,according to its position towards each other to absorb and learn from the direction of integration and development.In the traditional culture,with the background of the development of the Chinese traditional music,it has been quietly changed.The prosperity of Tang Daqu in its heyday of the past,and the transformation have also been made.Before the rise in secular culture which led by the secular music of the Five Dynasties,the political turmoil in the original feudal ritual system suffered a serious blow,and the palace music Sheng in the musical field is a serious challenge in the Southern Tang Dynasty,and Southern Tang emperor Li Yu also encountered such a problem at the turning point of history.But one thing is for sure,it is this era that created his different personality.His poetic talent was forged in the times,but the Chinese literature went into a new realm.His music with his literary thought are also gradually sublimated.Confucianism and conciseness,with "Harmony but not Sameness" existed as well.With the Buddhist music and personal independence of conduct,this article is based on Li Yu's musical thought,and aims to further interpret the formation and expression of his musical thought through the cultural interpretation and historical interpretation.This thesis consists of 5 parts:the introduction and the main body of the article,which are divided into three parts.The first part is the introduction that clarifies the purpose and significance of this study,reviews the previous research results,draws nutrients from historical data and further classifies the framework structure of the article and writing subject.The thesis explains the research methods,writing ideas and research expectations.The first and the second chapters are the second part.The first chapter mainly reveals the social background and cultural background of Li Yu's musical thought.This article is based on Li Yu's biography,examines the generation of Li Yu's personality traits with the background of the times and culture of his poetry style's formation and the relationship between his thought,music and the poetry style.The second chapter is based on the concrete analysis of certain problems,combining Li Yu with music and dance related poems.These poems by Li Yu reveal our national musical instruments,dance and a clear attitude,like the good music which is the basic attitude of Li Yu towards joyous but not indecent dance.The third,the fourth and the fifth chapters are the third part of the article.Based on the previous two chapters,this part starts from the development trend of Chinese traditional culture:Confucianism,Taoism and Buddhism,and studies from the status and inheritance of traditional culture in China.This paper analyzes the relations between Li Yu and the inevitability of the formation of the thought of music with Confucianism and Buddhism.Thus,according to the performance of Li Yu's poetry in music and attitude to music,from the perspective of Li Yu's Chinese traditional aesthetics thought,three kinds of ideology in the presence of "soft" and "tragic beauty"and "static beauty" came into being.In the end,the author expounds the relationship between Li Yu's music thought and Chinese traditional culture,and the positive influence of Li Yu's music thought on the future generations.