Research On Music Score Of Book Of Songs

The music score of the book of songs is a Book of poetry and music score of the Qing Dynasty written by Emperor Qianlong in the 53 rd year of Emperor Qianlong(1788),which is contained in the Si Ku Quan Shu.The book contains 305 poems of Feng,Ya and song,as well as 6 poems of "imperial tonic Sheng poems",with a total of311 poems.It is a poetic music score of vocal music and instrumental music of various spectral types,which adopts the musical notation of "one word one sound" of ancient music.The book is an important music work compiled by the Qing government in an all-round way based on "Lv Lv Zheng Yi",and it is also the only music score of 311 poems in the book of songs.Taking the music score of the book of songs as the research object,this paper tries to make a breakthrough on the basis of previous studies by using three research methods:literature research method,music law discrimination method and music analysis method.Combined with the results of the author’s interpretation of ancient music scores,this paper explores the musical connotation of music scores in the book of songs from both macro and micro aspects,such as musical thought,melody,rhythm and rhythm,and explores Qianlong’s "retro" music aesthetics and "ancient innovation" music making style.From the macro perspective of the music score of the book of songs,taking time as the axis,through the study of the historical development,ritual and music system and music culture of the Qing Dynasty,it is concluded that Emperor Qianlong’s attitude changed before and after compiling the music score of the book of songs,in order to explore the origin of the book in the history of the Qing Dynasty.In this regard,different from the past,it is the first time to examine the actual compilers of the music department ministers such as Qianlong,Debao and Zou Yixiao,who embody the music thought of music score of the book of songs for the first time.It can be seen that the book not only reflects the music thought of the ruler Qianlong’s pursuit of "retro" and the music making style of "ancient innovation",but also reflects the music thought of Deibao,Zou Yixiao and other music department ministers who compiled the book.Finally,it explores the spread and changes of the music score of the book of songs from the Tang and Song Dynasties to the Ming and Qing Dynasties.Through the comparative analysis of 13 ancient music scores,this paper demonstrates the transformation relationship between the ancient music scores such as the music score of the book of songs,the elegant twelve poetry score,the new poetry score,the Weishi music score and the complete book of music rules.There are great differences in the way of notation and music form from the past,which shows that the book of songs music score is of great significance in history.In addition,based on the collected four versions of the music score of the book of songs were compared,and finally selected the Siku Quanshu wenyuange book as the research object.In the micro understanding of the music score of the book of songs,it is mainly studied from two aspects: the score book and the music law of the music score of the book of songs.On the one hand,it makes a comprehensive and systematic study on the music score of the book of songs,and finds that music score of the book of songs has different innovations in melody,rhythm,lyrics,notation and so on.Through the comparative analysis between the music score of the book of songs and the complete book of music rules by Zhu Zaiyu,it is concluded that the rhythm has changed from "one word with multiple tones" to "one word with one tone".The simplification of melody and rhythm is also an important feature of the "retro" of elegant music.In addition,the translation and interpretation of the six "imperial Sheng poetry" re filled by Qianlong’s special musicians shows that it has very important historical and academic value.It is the first time to verify the types of musical notation in music score of the book of songs.From the four types of spectrum involved in the spectrum,Gongche spectrum,Lvlv spectrum,Gongshang spectrum and subtraction spectrum,combined with the analysis of instrumental music scores such as Qin,zither,Xiao,flute and bell,it is found that the words of this instrumental ensemble spectrum are one-to-one correspondence.On the other hand,in the micro understanding of the music score of the book of songs,it also makes a targeted research and Analysis on the music law of the music score of the book of songs.For the first time,this paper makes a systematic textual research on the 14 tones in the music score of the book of songs,makes full use of the excavation of new historical materials and the interpretation of ancient scores to verify the musical connotation of the music,and expresses his personal opinions on the basis of previous studies.Through the interpretation of the "Fourteen tables connected with musical instruments" in the music score of the book of songs,and the theoretical research of other music laws such as yin-yang two laws,yellow bell sound and Gongche seven tones,14 pieces of music with more representative tones are selected for score analysis,and the musical characteristics of Qingzhuo two balance,Xiayu starting and ending tone,using law with the month,starting and finishing tune and so on are obtained.It can be seen that Qianlong’s re composition of music in the music score of the book of songs was for the "retro movement" of the Qing Dynasty.