Research On The Asanas Of Ci Diao In Liu Yong’s Yue Zhang Ji

For more than two centuries,from the mid-Tang to the early Song dynasties,lyricists used short,small tunes to accompany their songs,which were fast and concise,but unable to express more delicate emotions.As a result,Liu Yong built on his predecessors’ work and perfected the Cidiao of the slow tunes,making the narrative and emotional expression of his Ci richer and more delicate,which became popular with the musicians and the people of the city,and was widely circulated in society at the time,laying the foundation for the structural transformation of the Song-Ci.However,most of the existing studies focus on the Ci of Liu Yong,and fail to analyze the relationship between literature and music in the asanas of Cidiao in terms of Cihistory,lyric collection revision and biographical examination of the lyricist.In this regard,this thesis takes the choice of tone in Liu Yong’s Yuezhang Ji as the scope of study,and takes the tonal style of Liu Yong’s Cidiao as the object of study,exploring the stylistic features of Liu Yong’s Cidiao style and the compositional techniques of the Cidiao style in the context of the development of lyric music,specifically divided into four chapters.Chapter 1 explores the influence of the relaxed social environment and diverse musical culture of the Northern Song period on the compositional style of Liu Yong’s Yuezhang Ji.The political environment of the Northern Song dynasty,which ’promoted literature and discouraged arms’ and the urban system of ’unification of the marketplace and the city’,gave the literati relatively more creative freedom,thus contributing to the lyricism of ’new voices’.In addition,with the gradual improvement of the music of the court,the rise of the music culture of the city and the development of the music of the literati,the diversity of musical sources provided a rich source of material for the creation of the content of Liu Yong’s collection of music,and the exchange of musical cultures contributed to the wider dissemination of Liu’s Cidiao.In these circumstances,Liu Yong drew on the experience of his predecessors to compose a large number of new tunes,effectively contributing to the development and maturation of Cidiao in the Northern Song period.Chapter 2 summaries the use of tunes in Liu’s Ci by quantitatively analyzing the use of tunes in the Yuezhang Ji in the context of the development of Ci-music.Firstly,Cidiao are derived from tunes,and Liu Yong’s use of tunes comes from a wide variety of sources,mainly from the Jiaofang tunes and his own new tunes,as well as old tunes from the Tang and Five Dynasties and other Cidiao from the Northern Song Dynasty,reflecting the development of tunes into Cidiao.Secondly,the Cidiao is accompanied by the attribute of the modes of ancient chinese music,to which Liu’s Cidiao belong,which is diverse and uses sixteen of the twenty-eight tones of the Yanyue.The palette not only defines the pitch of the music,but also determines the sound and rhythm of the Cidiao,reflecting Liu Yong’s precise control of Ci-rhythm and his ability to create Ci-music.Lastly,the style of Cidiao is classified by its musical characteristics,and Liu’s Cidiao is a combination of many styles,with the slow style predominating,directly reflecting the further fusion of Ci-music in the Northern Song period.Chapter 3 explores the interrelationship between the Junpai and the asanas of Cidiao,and uses the method of the Junpai to analyze the asanas of Cidiao in its entirety.Based on Zhang Yan’s Junpai theory and previous research on the Junpai of lyric music,this article analyses the specific manifestations of the Junpai of lyric music within the asanas of Cidiao,demonstrating that the Junpai is a special kind of beat that can distinguish the structure of the lyric and musical styles,thus exploring the specific position of the Junpai in the writing of the text.The author further refines the theoretical view of the ’method of Junpai.At the same time,the author analyses the tonal style of Liu’s lyrics from the point of view of the Junpai,and finds that it basically conforms to the characteristics of the regular structure of the Junpai method,namely,the ’four ling six yin eight man’,but that there are a few variations on the tonal structure of the lyrics,which suggests that Liu Yong made some changes to the style in order to enrich the content of the tonal style.Chapter 4 summaries the contribution of the asanas of Cidiao to the development of lyric music.Liu Yong not only inherited the tune names of the old Jiaofang tunes and the mood of the ’Flower Room’,continuing the creation of Ci-music from the Tang and Fifth Dynasties,but also innovated the sound,rhyme and structure of the asanas of Cidiao by adding a variety of stanzas,reducing the use of rhyme,creating unique rhymes and widening the structure of the asanas of Cidiao,thus contributing to the’slowing down’ of lyric music." The ’slowing down’ of Ci-music thus contributed to the development of the Northern Song period from short,small words to long,slow words.