Who Performances For Ritual Music?

In the long history,music and dance have always been an essential thing in people's life.However,without the record of history,the study of music and dance culture,especially the attention paid to the performers of music and dance are lacking.By investigating and studying the group of ritual dance performer which named Yue Wu Sheng in the Ming and Qing dynasties,this paper not only pay attention to the macroscopic history,but also explore the groups and individuals.Combining the static historical text with the dynamic ritual dance,this article tries to demystify the ancient music education.This paper will start with the education and life of Yue Wu Sheng in Ming and Qing dynasties,centering on the core of "cultural implication of music and dance education",and we want to answer the following questions: what is the educational life of Yue Wu Sheng in Ming and Qing dynasties? What kind of different choices and development will they have after Yue Wu Sheng? Through the physical interpretation of music and dance students,what kind of message does music itself want to convey? What role does music and dance culture play in the whole history?The study will take the system of history and culture as the breakthrough point,with the help of politics and education,and try to expound the performance of the ritual dance is the materialization of Confucianism.During the Ming and Qing dynasties,as the two lastest dynasties,although there is no special record of the group of ritual dance performer,many comprehensive monographs have been published and substantial history material still provide valuable materials for today's research.The main findings are as follows: First,the group of ritual dance performer named Yue Wu Sheng was mainly responsible for offering the ritual performance in the feudal countries of the Ming and Qing dynasties.Because of the participation of some Taoist priests,the identification of the group was often challenged.This also effected their educationg mode and official career.Second,the performance of the ritual dance is the materialization of Confucianism.The unchanging inherent pattern of the two dances makes the ritual dance lose its artistic essence and aesthetic interest gradually.Third,the three-dimensional Confucian education network constructed by various rituals undoubtedly became an important prop for the rulers to establish the Confucian moral order.This new perspective of studying human culture from the inside of art will provide a new way to understand music and dance culture and Confucian culture.At the same time,this paper also hopes to provide a new way for the study of history and cross-culture through the interpretation of music and dance notation and the collection of historical materials.In addition,it can also enable more people to have a deeper understanding of the people instead of the ritual.