The Study Of The Palace Music And Dance In The Five Dynasties And Ten Kingdoms Period

This paper revolves around the history of court music and dances of the central plains and separatist regimes,sorts the course of the evolution of court Gagaku and Yanyue respectively,clarifies the development course of court music and dances from the Tang dynasty to the Song dynasty,and analyzes the changes in court music and dances in the Five Dynasties and Ten Kingdoms period.It is believed that the fruits of Gagaku since the Five Dynasties and Ten Kingdoms period and the pre-Qin period were exhausted,and Gagaku culture of the same origin was completely destroyed;Yanyue of southern separatist forces flourished,underwent major changes-plebification of the function of music and dances,stylization of performing form and simpler and more elegant aesthetic taste,and finally set the direction of court Yanyue in the Song dynasty.Court music and dances in the Five Dynasties and Ten Kingdoms period met their turning point because wars broke the aristocratic stratum between the emperor and the populace,social structure changed from an aristocracy and an clan society in the Sui and Tang dynasties to a civilian society in the Song dynasty,while court music and dances serving the aristocratic class waned as folk music serving common people thrived,and they were gradually stylized under the influence of the rise of “Neo-Confucianism” and inevitably declined in the end.This paper is broken down into four chapters.Chapter one is an introduction divided into three sections.Section one analyzes the significance of a study of court music and dances in the Five Dynasties and Ten Kingdoms period;section two analyzes current studies on court music and dances in the Tang dynasty,the Song dynasty and the Five Dynasties and Ten Kingdoms period;section three briefly expounds on innovations in the work of this paper.Chapter two is about the construction of court Gagaku in the Five Dynasties and Ten Kingdoms period and is divided into four sections.Section one starts with two most representative works in the Tang dynasty-Breaking up the Enemy's Front and Music of Victory,expounds on the history of Gagaku of northern central plains regime;section two focuses on Jiangnan area and Sichuan area,explains the development course of court Gagaku of southern separatist forces;section three analyzes the far-reaching impact of “waning” court Gagaku in the Five Dynasties and Ten Kingdoms period on court music and dances in the Song dynasty;section four is a brief summary,and proposes the viewpoint that “Five Dynasties and Ten Kingdoms period was a turning point for the history of court Gagaku from the Tang dynasty to the Song dynasty,court Gagaku in early Song dynasty took a path totally different from flourishing Tang dynasty”.Chapter three is about the construction of court Yanyue during the Five Dynasties and Ten Kingdoms period,and is divided into four sections.Section one analyzes the development course of court Yanyue of northern central plains regime in the Tang dynasty,early Five Dynasties and late Five Dynasties;section two focuses on Sichuan area and Jiangnan area and expounds on the history of Yanyue of southern separatist forces;section three discusses the influence of court Yanyue in the Five Dynasties and Ten Kingdoms period on that in the Song dynasty from three aspects-stylization of performing form,beautiful and graceful music and dance style,and simple and elegant aesthetic taste;section four is a brief summary and proposes the viewpoint that “the changes of court Yanyue in the Five Dynasties and Ten Kingdoms period in performing form,dance style and aesthetic taste set the direction for the development of court Yanyue during the Song dynasty”.Chapter four explains reasons why court music and dances in the Five Dynasties and Ten Kingdoms period met their turning point,and this chapter is divided into four sections.Section one analyzes the reasons why the Five Dynasties and Ten Kingdoms changed to a civilian society and court music and dances waned as folk ones thrived from three dimensions: court music institutions shrunk,court music and dances were open to folks,and folk music boomed in the south;section two analyzes the reason why the aristocratic class of northern central plains regime and southern separatist forces pursued sensual pleasures and led to the plebification of the function of music and dances;section three starts with the rise of Confucianism and the germination of Neo-Confucianism,explores the reasons why aesthetic taste changed in the Five Dynasties and Ten Kingdoms period;section four is a brief summary,which puts forward the viewpoint that “the Five Dynasties and Ten Kingdoms period as a key node for social structure to change into a civilian society led to the change in whom music and dances served,this was the root cause why court music and dances in the Five Dynasties and Ten Kingdom met their turning point”.Chapter five is the conclusion summarizing the whole paper and proposes my personal opinions for driving the development of modern folk dances of Chinese ethnic groups on the basis of the study of the history of music and dances in the Five Dynasties and Ten Kingdoms period.