Zhu's music thought worships the ancient and innovates. Abstract: Zhu is good at piano playing and music rhythm. He wrote a lot about music. His idea of advocating elegant music is ancient, and his idea of establishing a music school and cultivating professionals proficient in music is innovative. Keywords: music thought; Worship the past; Innovation; Zhu Xi Zhu Xi (1130-1200), a great thinker, scholar and educator, is comparable to Confucius in the academic history of China. Zhu inherited and reformed the Confucian ideological system founded by Confucius, and established a huge neo-Confucianism system, which gave new vitality to Confucianism and directly affected the development of China society. In the long river of Chinese culture for 5,000 years, it is like a beacon tower, guiding ships forward. Turn to volume 9 12 of the music score. The article recorded above is the content of Zhu talking with many students about ancient and modern music, involving scales, twelve tones, five tones and musical works of past dynasties. Attending the forum were Cai, Huang, Liao Deming, Yang Daofu, Wan, Li Hongzu and Teng Kun. As far as the field of music is concerned, Zhu and his disciples' contribution to the work of radical rectification is worth studying by future generations. Mr. Qian Mu, a research expert in Zhuzi, said: Zhuzi is good at playing the piano as well as music. This is well-founded. Zhu has his own poem "Forty Years", but in his rich works, there are many poems related to the joy of ancient and modern times, such as the poem "Smelling Qin", the poem "Visiting Wine with Qin" by Zhao Junze, and the words inscribed for Qin, such as Liu Pingshan's Dream Zhai Er Qin Ming and Huang Zihou Qin Ming. Limited by space, the content is not recorded, but it is necessary to make a brief introduction to Liu Pingshan, Zhao Junze, Cai and Ziyang. Liu Pingshan, Zhu's teacher when he was young, named, was tired of official life. After serving in Xinghua Army of Fujian Road, he retired to Wuyishan, lived in Tanxi, Five Blessingg, taught his son, and played the piano and sang in his spare time, which had a great influence on Zhu and others. Zhu's thought of Qin studies originated from Mr Hirayama. Zhu Juvenile's classmate lived in seclusion in Pucheng because of his failure in imperial examinations for many times, and was famous for his poetic achievements. Zi Hou often takes his piano across the border to visit Zhu. After that, he sang on the strings, and Zhu wrote an inscription for his piano. Zhao Junze, the grandson of Zhao Song, is a performer. He came to visit Zhu from Chong 'an in the north of Fuzhou. Zhu called a group of fellow friends together, drinking and rhyming at the table, and writing poems according to the words, that is, writing poems and songs according to the law, which became a live music exchange. Cai, whose name is Jitong, is from Jianyang County, Jianning. The son of Cai Fa, born in a scholarly family, was enlightened, not for the imperial examination, and studied under Zhu for forty years, asking each other questions and solving problems. Zhu regarded him as a friend-fearing person, but in fact he was a high foot of Zhu. His research contents are astronomy, geography, rites and music, military system and education. He is well-read and has written a lot, including Xin Lv's Works and Yuan Lun. Ziyang was claimed by Zhu himself. He hired someone to build a piano. He often sings according to the strings in his spare time. Even when he talks about music knowledge, he sings while playing, just like a real music teacher. Playing the piano and singing are inseparable from music. Zhu's "On Music" and "On Music" are summaries of music research achievements. Zhu often tells his master the three-point profit and loss method. Constantly multiply the length of the nine-inch pipe by 2/3, and the next generation will be unified. This law is 4/3, and the next generation will be a law. Repeatedly, twelve laws can be generated; The generation of pentatonic can also be obtained by three-point profit and loss method. Zhu's units of calculation, from feet and inches to centimeters and silk, are accurate to four decimal places to ensure the harmony of pitch. Preface to New Books was written by Zhu Wei, his master Cai. Regrettably, Cai was falsely accused by Han Caizhou, the anti-Daoist ruler, of being a pseudo-Party of Qingyuan. In March of the third year of Qingyuan, he was in charge of the mausoleum in Daozhou, Hunan Province, and died on August 9 of the following year. The disharmonious part in Lu Lu Xin Shu is determined by the changes of Zhu and Cai Changzi, and in fact Zhu's painstaking efforts have been devoted. In respect of musicians' criticism, Confucian music occupies an important position in China culture and is regarded as an important part of etiquette by Confucianism. Since Confucius advocated "benevolence-oriented and art-oriented", Zhu stressed that "art" should not be ignored. If you don't pay attention to one thing, such as ceremony, music, shooting, obedience, writing and calculation, you will feel hindered, but you will pay attention to it one by one. This truth will only be a cycle, without that obstacle. Zhu told his disciples many times that if someone doesn't understand some key points in music, he should ask a musician or someone who knows melody to solve the problem. Show Zhu respect for musicians. Cai is a disciple of Zhu. He is good at mathematics, can play the piano, and is the author of Lv Lv Lv Xin Shu. The completion of this book has been discussed and revised by Zhu many times. Zhu commented on Cai's "the essence of calligraphy is beyond the reach of modern Confucianism." Zhu's decision reflects two problems: first, he fully affirmed that the level of Cai's music monographs is higher than that of modern Confucianism; The second is the criticism of the current situation of music in the Southern Song Dynasty. Zhan Tiren, another Gao Shi of Zhu, worked as a doctor in imperial academy for fifteen years. In four years, he lived in the capital for a long time, recorded music scores in Hangzhou, and returned to his hometown Pucheng to let musicians teach music with the style, elegance and praise in The Book of Songs. He also learned the ancient poems "Ernan" and "July" with sheng Guan, but his songs were only in front of the stage. After playing the poem Wang Wen, his voice was out of shape. This is what Zhu saw with his own eyes and heard with his own ears after visiting the round mountain. Zhu added: "However, we can only do today's music. The beauty of ancient music is not beautiful. I heard that he is good at recording music. Generally, when you press the melody, you only use the words beginning and end. The first word of the chapter is a certain key, and the end of the chapter is a certain key. " After listing several poems, Zhu criticized: "Yuan is good at taking care of things, regardless of right and wrong. He only talks nonsense and pays attention to everything. Such as palace, business, horn, sign and feather, are only on the throat, tongue, lips and teeth, so they are all what he wants to do. Yuan didn't know that throat, tongue, lips and teeth also had their own palaces, merchants, horns, signs and feathers. who is it? Gai has his own disease. " Although "Three Hundred Poems" is divided into styles, elegant styles, ode styles, different names and different voices, Zhan Tiren failed to treat them differently, which is far from Zhu's learning methods of attaching importance to matters and governors. Zhu even directly criticized his lack of learning time. As early as the Northern Song Dynasty, court officials Sima Guang, Fan Zhen, Hu Anding, Ruanyi and Li Zhao had a dispute over ancient music. Zhu regarded it as an "empty self-defense", and none of them ever read Du You's "Reading Canon". During the Northern and Southern Dynasties, the separatist regime in the Central Plains was chaotic, and Chinese elegant music was lost. Due to the Huang Chao Rebellion at the end of the Tang Dynasty and the separation of musicians, the original ancient music in China was lost, while Le Hu, from the western regions, was thriving. Du You's books in the Tang Dynasty still contain some ancient music. In the Northern Song Dynasty, popular music prevailed, but there were only three kinds of tunes: Gong, Shang and Yu. Almost all the major activities of Song Ting were inseparable from music, which made many courtiers have a headache. Advocating elegant music is of special significance to the real society. Zhu said: "No one in this world knows the melody, only by the theory of the controller." That time in Song Renzong, Li Zhao made music, and Fan Zhen said that he missed a note, and every thought was painful. This discordant music made Emperor Injong have a heart attack after listening to it. This is Zhu's typical criticism of the current music situation at that time. Zhu analyzed the lyrics of the music in the Northern Song Dynasty. He said: "Nowadays, the long and short sentences written in court sports, such as Song of Six Kingdoms, are all songs played by popular music. Four-character poem is the middle song in great music. Only a few people in the history of the country managed the "sports meeting" of this dynasty very well. Wang, for example, did a good job, like. Nothing else will do. Hengqu only learns ancient Yuefu, with weak words and many typos. " In fact, it is also a serious criticism of Confucianism. Injong likes music, which makes Le Shu by Hu Anding and Ruan Yixiu famous all over the world. Zhu thinks this is a good practice. There is a phenomenon that caught Zhu's attention, that is, the music of the Northern Song Dynasty has no tone, which makes people do it, but they can't do it. It can only start with a tone, not end with a tone. It is a pity that this is the result of a lack of talents who are proficient in music. However, Zhu believes that the spectrum is out of step, and the doubt must be "something is missing, so it can't be done." This seems to be a music unsolved case. I wonder if anyone has cracked it. However, Zhao Song, who went south to Hangzhou after the war, completely lost the glory of the Northern Song Dynasty and all kinds of institutions were destroyed. They are responsible for the performance of official ceremonies and celebrations, without a formal team, lacking talents to teach music, and using nonstandard teaching materials. Therefore, musical performances cannot meet the requirements of large-scale, grand and solemn national celebrations and ceremonies. Geisha are used to sing folk music in all states and counties. This unhealthy situation of rites and music made Zhu and other Taoist priests worried and tried their best to actively intervene. The idea of worshipping the ancient times pursues neutralization, and Zhu studies historical gains and losses, linking music with world movements and virtues. He advocates the Confucian idea of neutralization, and his requirements for music are also moderate. As far as French management is concerned, it only depends on alto. Generally speaking, if the voice is too high, it will burn, and if the voice is low, it will slow down. It is recorded in history that Liu Xin made music for Wang Mang and died after his success. When Xun Yu ingratiated himself with Emperor Wu of Jin Dynasty, the Five Lakes Uprising took place. He was happy with Zhou Shizong, and Sejong died. Li Zhao is having fun, and Renzong suffers from heart disease. However, Song Taizu didn't pay attention to music at first, but when he listened to it, he thought it was too high, so if he lowered it a little, his voice would be harmonious. Zhu believes that the happiness set by Emperor Taizong is peace and makes the world last for a long time. And said to the master, the rhythm is like a steeple, the width is voiced and the sharp is unvoiced. Below the palace, it is too turbid, above the feather, too light, and it is not fun, so those who take five tones are also successful. Zhu Yisheng's efforts are aimed at maintaining human relations, making the golden mean run smoothly, while rites and music better serve social stability. Therefore, studying the close relationship between music and people's temperament, self-cultivation and even world sports shows that Zhu's point of view is brilliant. Ancient musical instruments have a length regulation, which is measured by feet and determined by feet and inches. In ancient times, the arrangement width of millet in Yangtoushan was taken as the scale. In the Northern Song Dynasty, the argument that 1,200 millet grains were nine inches wide side by side was controversial. Zhu in the Southern Song Dynasty thought that this method was not desirable today. In ancient times, there were two kinds of ruler, one was short weekly ruler, and the other was long mountain water ruler. If the scale is uncertain, the twelve laws are not accurate. If the music is inaccurate, the specifications of the instrument will be confused, and the music played will not be moderate, resulting in high or low pitch, disturbing the listener's mind and leading to bad consequences. (2) Zhu noticed that only seven tones were used for fun. Even the music in harmony depends on the occasion. "If you don't dare to use the palace banquet, the two sides will fall out of love." Cai once played a wonderful flute with a small bamboo flute, but when Zhu was reviewing the manuscript, he found that the playing method was not harmonious, so he wrote to Cai, who was banned by pseudo-learning, hoping to "learn more after returning." However, the cruel fact is that Cai was woven into a tube and tortured to death, and he failed to continue to collude with Zhu. Zhu He had to shoulder the heavy responsibility and both played. Zhu also noticed that fashionable music is not the music needed by the mainstream society, but the music needed by the imperial court and temples must be solemn and harmonious. Zhu pursues elegant music. Then, the requirements for lyrics content and music sound are also quite strict. The ancient music, in Zhu's view, stands the test of time and has vitality. Therefore, Zhu has a respect for the past in his musical thoughts. As a master of Neo-Confucianism, Zhu's thought of playing the iron flute and having the sound of cracked marble is inclusive, so is his music thought, and more importantly, he is innovative. As a teenager, Zhu accompanied Meiling to visit water curtain cave in Wuyishan. This man and his son Yi are brothers of the same family. They live in a cave under a cliff, quietly learn to play the iron flute and live a leisurely life. His flute is crisp and melodious, and the sound of rock fracture reverberates, which also shakes Zhu's heart. In the days to come, Zhu led his friends to visit his hometown, and the wonderful flute sounded in his ears, leaving four big characters on the cave wall: "Immortal." Zhu himself has created a large number of poems and songs, some of which can be sung in accordance with the law, such as Zhao, The Jade Emperor Temple's Divine Comedy, and Shuidiao Song Tou. Especially in the middle and late period, when Zhu mobilized his disciples to sort out the materials of rites and music, he formed his own unique view of music by studying a large number of documents. Even a master asked, "Is it fun to be a prostitute now?" Zhu said: "Today all counties use it, so why not use it at home?" It is also considered by people. " The word "consider" lies in whether you can enjoy music and treat it differently. One girl sang very well and left a deep impression on Zhu. He told his disciples: (it) is born to pay attention to melody, and its songs come from nature, and Gai is the person who deserves this spirit. This unknown girl is regarded by Zhu as a musical talent, and she should be allowed to display her talents. Zhu once said to his teacher, "Today's scholars ask people who don't understand the five tones and twelve methods. If you want to, you should build a happy school to make master Xi wise. After a long time, there will be masters. " (3) During the Southern Song Dynasty, Zhu put forward the idea of establishing a music school to train professionals who are proficient in music. This unique idea transcends the predecessors. Although the Southern Song Dynasty failed to realize this wish, it can be said that the establishment of a special music education institution for future generations is related to Zhu's bold suggestion. From this point of view alone, it is not an exaggeration to mark the educator Zhu's music thought as original. Quote: ① Qian Mu. Outline of Zhuzi Studies [M]. Beijing: Life, Reading and New Knowledge Joint Publishing Company, 2002: 204. ② Li Jingde. Zhuzi school [M]. Beijing: Zhonghua Book Company, 1983: 2 185. ③ Zhu. Zhuzi's Complete Books, Volume 92 [