A Textual Research On The Inheritance And Evolution Of The "Twelve Harmony" Of Tang Yale

Since Zhou Dynasty,the concept and tradition of rites have been highly praised by feudal rulers.At the same time,music,as a tool of sacrifice and education,is inseparable from ritual.As an external form,propriety embodies the political power of the ruling class,while music,as a product of spiritual level,complements propriety and forms the basis of rule.In the early Tang Dynasty,"Twelve Harmonies" was formulated as a specific means of expression and materialized form of court elegant music.Twelve harmonies were mainly used in the five rites of auspicious,ferocious,fine,guest and military in ancient China,that is,in the ritual rites of sacrificing gods,earth and ghosts,in the sacrificial occasions such as round hills,Fangze and ancestral temples,or in court ceremonies and court meetings,they cooperated with ceremonial actions and procedures,With the help of dance(the second dance of culture and martial arts)and gongxuan(Xuanxuan)band,etc.,the song was made by the filial grandson of Shaoqing's ancestral clan of Taichang(revised by Zhang wenshou)and enjoyed in the court according to the wishes of the supreme ruler of the country."Twelve Harmonies" is the consolidation of the feudal ruling class' s more solid combination of rites and music,and the continuation and development of the Tang Dynasty's thought of the middle ancient rites and music.The purpose of this paper is to reveal the essence of the Tang Dynasty's elegant music culture and the formation soil of the thought of ritual system through the discussion of the regulations of twelve harmonies and its occasions,the rules and regulations of the melody spinning palace,the mechanism of ritual performance,the inheritance and changes of the twelve harmonies and their before and after.