Li Yannian: Court musician during the period of Emperor Wu of the Han Dynasty. He once served as the Xielu Captain of Yuefu. His representative works include the creation of 28 new tunes based on "Moko Doule" brought back by Zhang Qian from the Western Regions, which were used as military music for ceremonial guards. "Twenty-Eight Explanations of New Sounds" is a representative work of percussion music in Han Dynasty Yuefu. Li Yannian is the earliest musician in our country's historical documents to use foreign music to process and create. When Li Yannian was in charge of the Yuefu, he processed and organized a large number of folk songs collected by the Yuefu, and arranged new songs, which were widely circulated and played a great role in promoting the development of folk music and dance at that time.
Ji Kang: a qin player, writer and thinker in the late Wei Dynasty during the Three Kingdoms period. He is knowledgeable, good at writing poems and essays, loves music, and is good at playing the piano. He is famous for playing Guangling San. His representative works include the qin music "Ji's Four Lanes", including: "Chang Qing", "Duan Qing", "Chang Side", "Duan Side", which together with "Cai's Five Lanes" are called "Nine Lanes". His representative works on music theory include "On Soundless Music" and "Qin Fu". His "Qin Fu" vividly describes the various expressions of the art of qin music, and comments on some qin music at that time. It gives a detailed and vivid description of the music and the playing method and expressive power of the qin, and has historical value.
Su Zhuanpo: a famous court musician and pipa player from the Northern Zhou Dynasty to the Sui Dynasty. A native of the Qiuci Kingdom in the Western Region, his ancestors were from a musical family. In 586 AD, he entered the Zhou Dynasty with Princess Ashina, the daughter of the Turkic Magan Khan, and Emperor Wu of the Zhou Dynasty. She is good at playing Hu Pipa, and her family has passed down the Qiuci music system of "Five Dans and Seven Tones". At that time, Zheng Yi, a musician from the Central Plains, learned the Qiuci pipa and Qiuci music theory from Su Zhipo. He compared and translated the "Five Dan Seven Tune" taught by him with the traditional Central Plains mode theory, and created the eighty-four tune theory. theory.
The "Five Dans and Seven Tones" theory of Qiuci music taught by Su Zhipo played a significant role in transforming the music of the Central Plains. It has effectively promoted the establishment and development of the ancient palace tune system in my country. The creation and application of Gong Tiao theory was a great progress in ancient Chinese music culture. It not only established standards for music technology, but also had a profound impact on the later development of Song lyrics, Yuan music and even Chinese drama.
As one of the founders of ancient Chinese palace tune theory, Su Zhipo not only made outstanding contributions to the development of ancient Chinese music. This theory has also spread to foreign countries and has had an impact on music and dance in India, China, Japan, Vietnam, Myanmar and other countries. Su's tune system laid the theoretical foundation for the famous twenty-eight tunes of Yan music in the Tang Dynasty. It was an important turning point in the development history of ancient Chinese music and made an outstanding contribution to the development of Han national music. Therefore, it is an epoch-making event in the history of Chinese music. characters.
Wan Baochang: Sui Dynasty musician, good at playing various musical instruments. His representative works include "Music Score". Wanbaochang was the first to notice Su Dapo's theory of "seven tones" and made a breakthrough discovery in his exploration of pipa. He was ordered to formulate ritual music, and used his own "Water Ruler" as the standard to modulate musical instruments. He also wrote sixty-four volumes of "Music Score" by himself, which discussed "the method of forming a palace with eight tones and vortexes, and the changes of changing strings and columns." It is eighty-four tones, one hundred and forty-four rhythms, and finally changes to one thousand and eight tones" and other musical temperament theories.
The set of palace musical instruments he formulated had a significant impact on the secular music of later generations. Although his theory of music temperament was not taken seriously in the Sui Dynasty, it was an early inspiration for the laws of the Tang Dynasty.
Li Longji: A musician of the Tang Dynasty, he was also the first emperor musician in ancient my country. He is proficient in pipa, transverse flute and other silk and bamboo music. He is especially fond of playing Jiegu and is called the "leader of the eight tones". He is good at playing Jie drum and transverse flute, and has composed and adapted "Midnight Music", "Xiao Po Formation Music", "Nancy Clothes and Feather Clothes Music", etc. The Tang Dynasty music institutions Jiaofang and Liyuan were established.
During his reign, he carried out a number of major reforms in the music system of the Tang Dynasty and organized or personally composed a large number of musical works. He also repeatedly improved the status of Hu and folk music, ordered the promulgation of new music titles, and changed a large number of ethnic minority and foreign music names that were transliterated from Chinese to Chinese names with a Taoist flavor. This accelerated the integration and exchange of Hu and folk music, and promoted the song and dance of the Tang Dynasty. Music boom.
Li Guinian: a musician in the Tang Dynasty and a leader among Liyuan musicians. He played the wind instrument Juozhen with superb skills. Many poets have heard his performance and wrote many popular poems.
Jiang Kui: Song Dynasty musician and poet, also known as Taoist Baishi, known as Jiang Baishi in the world. Representative works include "Yangzhou Slow", "Desolate Prisoner", "Songs of Taoist Baishi", etc. His collection of lyrics "Songs of Taoist Baishi" contains seventeen self-written songs with side scores, and the piano piece "Ancient Resentment" also notes fingerings. It is the only complete collection of Song lyrics and music scores that has been handed down to this day. It is precisely because he preserved 17 pieces of music that he holds an important position in the history of music.
Zhu Zaiyu: a musicologist and calendar mathematician in the Ming Dynasty. The ninth grandson of Zhu Yuanzhang, Taizu of the Ming Dynasty. Zhu Zaiyu is a master in the history of Chinese music temperament. He is the author of "The Complete Book of Music", "Lv Lu Zheng Lun", "Lv Lu Questioning and Discriminating Confusion" and other books. "The Complete Book of Musical Temperament" summarizes and develops the previous musical temperament theory, and creates the first "new law of density" musical temperament theory, that is, the "Twelve Equal Temperament".
He used the method of abacus calculation to obtain the geometric sequence in the rhythm system, and for the first time solved the eternal problem of free rotation of the palace within the twelve rhythms of music, and realized countless rhythms over the past thousand years. The ideal that scientists dream of. Zhu Zaiyu's invention of the new law of law put China in a leading position in the field of legal studies in the world during the Ming Dynasty. His achievements had a strong repercussions in the West and aroused the admiration of European academic circles.
Zhu Zaiyu’s "Twelve Equal Temperament" law theory has made a significant contribution to world music theory. It was not until more than a hundred years later that the German musician Wilkmeister proposed the same theory. At the end of the 19th century, Belgian acoustician Ma Rong conducted experiments according to the method invented by Zhu Zaiyu, and came to the same conclusion as Zhu.