In the long history of 5,000 years, the history of China civilization has shown an extremely glorious page. China is one of the earliest ancient civilizations in the world and its music has a long history. Long before the invention of writing, when our ancestors evolved from apes to human beings, in order to make individual life exist and race continue, music was born with the use of tools and the production of language in the two most basic production activities that human beings must engage in: labor and reproduction. In fact, walking with left and right feet, heart beating and pulse beating are the simplest rhythms. As long as the monotonous language of primitive people has high and low pitch changes, it also contains melody factors. During the Spring and Autumn Period, the wave of a hundred schools of thought contended in China collided with brilliant sparks, while Europe was in a wild state at the same time. When the China music ushered in the dawn, European music was still wandering in the long night.
During the Zhou Dynasty, government departments set up a music organization headed by "Da Le Si". Teaching courses mainly include music ethics, music language and music and dance. The so-called virtue is the ethical concept of "neutrality, moderation and filial piety"; Music language is an ethical code of conduct such as "advocating, satirizing and speaking"; Music and dance include music theory such as big dance and small dance, recitation of music poems, dance and performance of six generations of music and dance.
It is said that the music and dance in the Six Dynasties are six epic music and dances handed down from generation to generation, including Yunmen Dajuan of the Yellow Emperor, Xianchi of Shi Yao, Dashao of Shunshi, Heroes of Shi Yu, Dayong of Shang Tang and Dawu. The whole process of Zhou Wuwang's war activities is described. In the Zhou Dynasty, they were used in the court to worship heaven and earth, mountains and rivers, ancestors and other important ritual activities. Among them, "Dawu" and "Dayun", as themes of praising morality, are often performed in ceremonies such as emperor sacrifice, etiquette learning and pension. Like "Feather Dance", "Imperial Dance" and "Beijing Dance", they are all small entertainment dances in the court.
In addition to music and dance, there were other grand ceremonies and songs in the court of Zhou Dynasty, such as ode and elegance, for the emperor to worship his ancestors, shoot, learn and meet the two kings. And the music in the room sung by the concubines in the inner palace, without bells and harps, only accompanied by harps and harps. This shows that music has been differentiated from the original music and dance. In the court of the Zhou Dynasty, there were also performances of Siyi music in Qin, Chu, Wu and Yue, indicating that there was a certain exchange of folk songs and dances among various ethnic groups at that time.
From the above literature, we can know that the music culture of Zhou and Qin Dynasties is an important coordinate for the high development of China music. This series of achievements also laid a theoretical foundation for the study of ancient music in China.
The Qin Dynasty, which unified China in 22 1 BC, was a centralized country. In order to meet the needs of political unity and cultural management integration, it once set up Yuefu, which was dedicated to managing the official position of music. The Western Han regime established by Liu Bang also expanded the organization and functions of Yuefu. At that time, the government attached great importance to folk music and asked Yuefu to collect "the legacy of Zhao, Dai, Qin and Chu" and absorb the music of remote ethnic groups such as the western regions and the northern regions. On the basis of extensive collection of folk songs from all over the country, Li Yannian, a musician, was selected as the deputy conductor, and Sima Xiangru and other dozens of people were selected to arrange, process and write lyrics for court sacrifices and banquets. According to Hanshu? According to Yi Wenzhi's records, there were 134 folk songs collected at that time, 75 "Zhouqu twists and turns" and 75 "Henan Zhouqu twists and turns".
During the Han and Wei Dynasties, the court introduced many folk songs and dances and hundreds of operas. Among them, Emperor Gaozu ordered musicians to work? Bayu Dance, which is famous for its fierceness; At first, the story of "Xiangzhuang Dancing Sword" at the Hongmen Banquet was staged, and Xiang Bo protected Emperor Gaozu with his sleeves. Later, it evolved into a "towel dance" symbolizing Xiang Bo holding his sleeves with a towel. Women wear white? Cloth dancing clothes dancing long sleeves "white?" Dance "; Take it. Playing drums, singing and dancing? Dance "; Dancers dance on and beside drums, and so on. Bai Juyi is a general term for all kinds of acrobatic skills, including "dragon dancing" and various acrobatic magic.
During the Jin, Southern and Northern Dynasties, wars were frequent and dynasties changed. With the social unrest and national migration, foreign and outland music cultures have conducted extensive exchanges with those of the Central Plains, which has become an important period in the history of music. Among them, Shang Qing music is the remains of traditional music in Qin and Han Dynasties. Shang Qing was founded in Cao Wei regime, and it was actually a variant of Yuefu. After the Eastern Expedition of the Jin Dynasty, these "old songs of the Central Plains" interacted with southern music, making Shang Qing music a general name including harmony and xuanhe songs handed down from the previous generation, as well as western voices such as Wu Ge and Jingchu, who were representatives of southern Yuefu folk songs at that time. The lyrics of northern folk songs are mostly preserved in Yuefu's poetry collection "Across the Drum and Across the Beam", which has a much wider theme than southern folk songs and reflects the war and people's suffering, and was written by northern Wu, Xianbei and Han people. Mulan Ci is the most outstanding work in northern folk songs, which enthusiastically praises the heroine Hua Mulan who joined the army instead of her father. In the Northern Wei Dynasty, the rulers of Xianbei people often ordered the palace maids to sing "songs of real people", also known as "northern songs". "The reason why the above-mentioned ancestors opened the tomb is the ruin of the ministers. Every 150 chapters, the song of the morning and evening" ("Shu Wei? Happy "). This kind of folk song, similar to national epic, is accompanied by bamboo and silk, flute and drum, which is a kind of drum music. Liang Chen is popular in the south and called it "Daibei".
During the Sui and Tang Dynasties, the unification of the north and the south, social stability and economic prosperity created favorable conditions for the development of music art. The rulers of the Tang Dynasty were not so conservative in culture and widely absorbed foreign music culture, which made music reach a peak of development. In this historical period, the fusion of literature and music has become a feature of the development of Chinese classical music in the famous songs of poetry. Li Bai's Guan Shanyue, Du Fu's Tomb-Sweeping Day, Liu Yuxi's Zhi Zhu Song, Wang Zhihuan's Liangzhou Ci, Wang Wei's Yangguan Song, Longtou Yin and Liu Zongyuan's Fisherman, etc. Some of them have been circulated among the people for a long time as folk songs, while others have been absorbed by the Qin family and preserved in the form of Qin Ge. Among them, the seven-character quatrain "Yangguanqu" written by Wang Wei to send off a friend who went to the Western Regions and worked in Yangguan became a song that people often sang at that time and later because it expressed the sadness of parting in a way of scene blending.
In Song Dynasty, the urban economy gradually prospered, and the citizen class expanded day by day. The focus of social music activities moves from the palace to the secular. In the Northern Song Dynasty, there were places for citizens' music activities such as "Goulan" and "Friends". Tonal music, rap music, opera and other music suitable for citizens and literati have developed rapidly.
The Song Dynasty is also an important historical stage of the blending of China's music and literature. Song Dynasty is the golden age of songwriting, with more than 800 songs and songs in common use, some of which come from traditional and contemporary popular folk songs, such as "Recalling Jiangnan" and "Liu Qingniang". The other part comes from some passages of song and dance songs in the Tang Dynasty, such as Yangguan Yin, Inverted Cup Preface, Shuidiao Tou, Slow Voice, Teasing Preface, etc. And ethnic minority and foreign music, such as Bodhisattva Man and Su Mu Man. In Song Dynasty, there were not only a large number of lyrics and songs created by literati, but also two categories: graceful and unrestrained. The content of graceful and restrained ci mostly shows the lovesickness between men and women. Its style is delicate and gentle, and it pays attention to the harmony between melody and melody, represented by poets Liu Yong and Zhou Bangyan who are closely related to music. Bold lyrics and songs open up the expressive content of words, break the strict rhythm constraints, and have a bold and rough style. It originated from Su Shi in the Northern Song Dynasty, followed by a group of patriotic poets in the Southern Song Dynasty, such as Xin Qiji, Chen Liang, Zhang Shouxiang and Yue Fei. Yu Zhibao, a poet in the Song Dynasty, made an image comparison between the two schools of ci: "Liu Langzhong (Liu Yong) is composed of only 178 girls, singing' Yang Liuan, Xiao Feng, Canyue' with red teeth in his hand; The word' bachelor' (Su Shi) must be a big man in Kansai, singing "The River of No Return" with a bronze pipa and iron rake. "
In the Song Dynasty, some poets who knew music often wrote new songs by themselves, which were called "self-tuning". Jiang Kui was the most representative author of the song in the Southern Song Dynasty. Fourteen songs written and directed by him, such as Yangzhou Slow and Xinghua Tianying, are included in the Song of Baishi Taoist, and are annotated with the Folk Music (ancient meter music), which is a precious legacy of the Song Dynasty's tune music. Jiang Kui's self-tuning music is integrated, with euphemistic, lyrical, fresh and elegant style. Exquisite and delicate in the handling of techniques such as rotation, structure, mode and modulation; His works mostly use seven tones, four tones and seven tones occupy an important position, and they often quote Sheng Shang, Zheng or Gong. Thereby giving the tune a unique and far-reaching rhyme.
During the Ming and Qing Dynasties, with the outstanding development of industry and commodity economy, citizen music gradually became the main part of music art, and self-entertaining folk songs, folk song and dance music and commercial rap opera music all made unprecedented artistic achievements during this period.
In the Ming Dynasty, Zhuo York compared the folk song ditty at that time with Tang poetry, Song ci and Yuan qu, calling it "My Unique Skill" (Cold Night Record). It is precisely because the literati have improved their understanding of folk literature and art that the atmosphere of collecting folk songs has gradually formed. For example, Feng Menglong compiled and published two collections of folk songs, Guizhi Er and Folk Songs, and collected more than 800 lyrics. In Qing Dynasty, more than 10,000 kinds of folk songs were published successively, among which Guangdong Tune collected by Li Diaoyuan also included folk songs of southern minorities.
Folk songs and dances in the Ming and Qing Dynasties are also very rich. The folk songs and dances of the Han nationality include yangko, flower drum, tea picking, lantern playing, dry boat, bamboo lantern and so on. Among the folk songs and dances of ethnic minorities, there is Muqam of Uygur nationality; Tibetan pot village and nangma; Miao people's jumping on the moon; There are many kinds of Dong people playing with mountains.
During the Ming and Qing Dynasties, the development of Beijing Opera Quyi also presented a brilliant historical stage.
After the mid-Ming Dynasty, two kinds of operas appeared: Yi and Kun. Yiyang cavity, which originated in Yiyang, Jiangxi Province, is high-pitched and called Gao Qiang. Accompanied by gongs and drums without orchestral strings, it has played a unique dramatic role in describing and rendering the atmosphere of the stage environment and helping to portray the inner activities of the characters, and has been enduring for a long time with its easy-to-understand lyrics and free and flexible singing. Kunshan dialect originated in Kunshan, Jiangsu Province, and was not widely circulated before Jiajing in Ming Dynasty. Later improved by He Zhang. On the basis of the original Kunshan Opera, the advantages of each opera in North Opera and South Opera were widely absorbed, and a new opera was formed, which was "exquisitely polished, word-for-word, clear and soft, mellow and smooth". The new Kunshan accent, with delicate and slow singing and silky voice; In rhythm, the use of "geiban" makes the tune of one board with three eyes slow by one beat, which has the characteristics of "slow voice"; Melody creation requires "according to words" and pays attention to the harmony between melody and timbre; In the aspect of accompaniment, a band based on Sheng, Xiao, Pipa, Sanxian, and Drum Board was formed. After the reform, Kunshan Opera has become a national drama with "quartet must belong to Wumen", and many famous works have emerged, such as Peony Pavilion by Tang Xianzu, Palace of Immortality by Hong Sheng in Qing Dynasty, Peach Blossom Fan by Kong, etc. Xu Dachun's Yuefu Biography in Qing Dynasty summed up the achievements of Kunqu opera singing, which was an important opera vocal music work at that time. After the early Qing Dynasty, Kunshan dialect gradually turned from prosperity to decline because of its overly carved lyrics and elegant and indifferent music, and was gradually replaced by random playing after Jiaqing.
Random play has been widely popular in Qin area since the end of Ming Dynasty, and its voice cavity was the earliest in Shaanxi and Gansu areas. It is also called "Bangzi Opera" because it is played with a bangzi. Bangzi music creation board cavity combination system; The tune is loud and intense, and "happy sound" and "bitter sound" express different emotions. Simple and popular, especially good at portraying characters and expressing dramatic conflicts. In addition, it quoted an accompaniment band, which was mainly composed of stringed instruments such as Erxian and Huhula, and percussion instruments such as Bangdi, Qin Yue and gongs and drums. Most plays are historical stories, so they spread quickly. By the end of Qing Dynasty, Bangzi operas with roughly the same vocal system were produced in various places, such as Shanxi Bangzi (now Shanxi Opera), Henan Bangzi (now Henan Opera), Hebei Bangzi, Shandong Bangzi, Sichuan Bangzi (namely Tanxi Opera) and Shaoxing Taipan (or random play).
Later, Pi Huangqiang was another important sound cavity played randomly. Pi Huangqiang includes two accents: Xipi and Huanger. The former originated in Hubei, which is the product of the combination of Shaanxi opera and China local tune, and its timbre is fierce and desolate; The latter originated in Anhui, developed from the local blowpipe, and its timbre was euphemistic and warm. In the middle of the Qing Dynasty, after the four Hui classes went to Beijing, they cooperated with Han opera artists from Hubei, extensively absorbed the repertoire, tunes and performance methods of Kunqu Opera and Shaanxi Opera, and embraced folk tunes, and created a new drama, Pi Huangqiang, with Xipi and Huang Er as the main body, which initially established the pattern of Beijing opera. Peking Opera plays are mainly based on historical themes, and later new plays, such as Fisherman Killed the Family and Li Lingbei, which are anti-feudal, democratic and patriotic, closer to people's lives and suitable for the requirements of the times, have been compiled one after another. The melody of Pihuang music is high and simple, which not only further develops and perfects the stereotyped writing structure, but also solves the problem of separation between men and women, so that all majors can better play a dramatic role in singing; At the same time, a relatively complete system has been formed in accompaniment, including a "literary field" composed of Hu string pipes, a "martial field" composed of drums, gongs and cymbals, and a "scene" in which the two are combined and complement each other, which closely cooperates with the singing and performance of actors. Because of this, Peking Opera became the largest drama in China in the late Qing Dynasty. Pi Huangqiang, along with Bangzi, Gaoqiang and Kunqiang, has become the representative vocal cavity of the emerging modern opera music in China.
Peking Opera, which had entered its heyday during Guangxu period, faced the crisis of being seized and monopolized by feudal rulers in the late Qing Dynasty, and gradually divorced from the people and real life. In the late Qing Dynasty and the early Republic of China, innovative Shanghai-style Peking Opera rose in Shanghai. Its earliest representative, Wang Xiaonong, was dissatisfied with the fatuity, corruption, humiliation and flattery of the Qing government. He wrote and performed some new dramas, such as Dangren Monument, Crying at the Ancestral Temple and Scolding Yamaraja, in order to attack current politics, publicize patriotism and express deep concern for the country and people. According to his own voice, he absorbed the strengths of Wang Guifen and Sun Juxian, and created a new vigorous and powerful expression. After the Revolution of 1911, he also presided over the second drama reform meeting and launched the drama reform movement. Inspired by the drama reform movement and the "civilized drama", Xia Yueshan, Run, Pan and others in Shanghai also wrote and performed patriotic, anti-imperialist and revolutionary new dramas such as "Pan Martyr Throwing into the Sea" and "Black Slave Calling Heaven", which further shaped Shanghai-style Peking Opera. The opera reform activities in the early years of the Republic of China promoted the connection between opera art and social reality and people's lives. Many new dramas have exposed the darkness of society to varying degrees, showing the people's desire to get rid of feudal shackles; Some beneficial innovations have been made in singing, performance, stage equipment and clothing. Zhou, who followed closely, carried forward the spirit of "Shanghai Opera" and was determined to reform. Before and after the May Fourth Movement, he compiled and performed new fashion plays such as Song.
Around the May 4th Movement, Mei Lanfang and others made outstanding achievements in the innovation and reform of Peking Opera. Mei Lanfang, together with Wang Yaoqing and others, combined the blues of Tsing Yi, Hua Dan and Beijing Opera, singing, acting, reading and acting into one, and created the cause of "flower shirt", which made the art of Beijing Opera perfect. During the Revolution of 1911, he edited and performed fashionable Peking Opera with democratic tendencies, such as A wisp of hemp and Deng, as well as new dramas in ancient costumes, such as The Goddess of Heaven Scatters Flowers and Luoshen. In the 1930s, Mulan joined the army, hated life and death, and resisted Jin Bing, which praised national integrity and was full of patriotic enthusiasm. He has also made new development and creation in singing. His vocal singing is dignified and smooth, crisp and hearty, rich and elegant, and he is known as "Mei School" in the world. In addition, he also carried out beneficial reforms on Beijing Opera's character performances and accompaniment bands, and went to the United States and the Soviet Union on 1928 and 1935 respectively, which was the first person to make Beijing Opera win international reputation. Mei Lanfang deserves to be a master who pushed Peking Opera to a higher level after Tan Xinpei. His representative works include Cosmic Front, Drunken Empress, Farewell My Concubine and so on. On the basis of the traditional pentatonic scale, the heptatonic scale system has gradually formed and developed.
The seven sounds in ancient China: Gong, Shang, Jiao, Wei, Hui, Yu and Bian Gong, which are C, D, E, F, G, A and B in modern music. The Zhou Dynasty had seven tones and twelve laws. In the 6th century BC, King Jing of Zhou (544-52O BC) asked Yue Guan what the seven tones were and what the twelve tones were. When answering the question, Lingzhou dove listed the names of the ranks of Gong, Shang, Jiao, Wei, Wei, Yu and Bian Gong, and explained the relationship between each rank and the twelve laws. The appearance of the seven-tone scale was pushed to the era of Zhou Wuwang's replacement (BC 1O66).
China's seven-tone scale is dominated by elegant music and Yan music.
Elegant music generally refers to the music used in court sacrificial activities and court ceremonies. Rites originated in the Zhou Dynasty, and were used in rural communities [to worship heaven and earth], ancestral temples [to worship ancestors] and court etiquette [to attend ceremonies, banquets, guests, etc. ], rural filming [the ruler banquets for ordinary people's representatives] and military ceremonies. Later generations' activities of offering sacrifices to sages, such as offering sacrifices to Taibo and Confucius, also imitated and applied the joy of suburban communities and ancestral temples. The ritual and music system of the Zhou Dynasty has strict hierarchical regulations on the ceremonies and tracks of the above-mentioned different occasions. According to legend, Liu Yue was given to Zhou Wuwang by the Yellow Emperor for sacrificial ceremonies and major banquets hosted by the emperor and a few princes, and was regarded as the highest model of elegant music by later Confucianism.
Scale: (also called ancient scale, old scale or traditional scale)
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Palace quotient angle change sign feather change palace