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About ancient Chinese music history

" Thoughts on "Knowledge Innovation"

As a

humanities discipline, the history of ancient Chinese music should face the academic trend of "Knowledge Creation

innovation" in the new century. Seeking its contemporary position

has become a topic of the times that every ancient music historian in the new century

thinks deeply about.

The maturity and development of the discipline of ancient Chinese music history

is achieved by integrating the knowledge of literature, history

ology and musicology. For example

The "melody textual research" method proposed by Mr. Huang Xiangpeng

and its results are based on history, philology

ology, archaeology, ethnology, and anthropology. Learning and music

The creative use and integration of various knowledge resources such as instrumental science, music morphology, ancient genealogy, and ancient music

rhythmology

Basic, the awareness of "knowledge innovation" it demonstrates is self-evident.

The author believes that facing the 21st century

the development of ancient Chinese music history may appear as follows in the trend of "knowledge

innovation"

p>

Some trends:

1. The "knowledge update cycle" will be further shortened

. In the

development process of human civilization in the 21st century, the rhythm of history will show

a trend of becoming faster and faster than that of the previous generation, and production will develop more and more rapidly. The faster, the more economic exchanges become more

more frequent, and the scientific inventions become more intensive.

This rapid evolution of historical rhythm is related to knowledge

It is inseparable from understanding the driving factors of production relations in the economic era

. In this social background

24 Quarterly

, the production cycle of new music history research results

has been shortened accordingly, and more and more The knowledge achievements that have been reconstructed through multiple experiences call for social inspection; the development and evolution of new music historical facts also urgently require description and display. When discussing the history of ancient Chinese music in the 20th century, Mr. Liu Zhengsheng once made statistics: "Since the first volume of Ye Bohe's music in 1922, From the birth of "Chinese Music

Music History" to the 1990s, a total of four to five

ten kinds of Chinese

music history books were published So many, on average, one book is published every two years." ① Even so, we still feel that it can be included in the published historical works.

< p>The new historical achievements are not enough for application

needs. For example, the "Chinese

Music Dictionary" published in 1985 has not yet been revised, and the "Chinese Music Dictionary? Continued" published in 1992

ed. "The situation of many character entries in

has also undergone many changes, and they are no longer suitable for current applications (recently heard from the People's Voice

< p>Music Publishing House has funded the revision of the dictionary. We look forward to the early release of the new version of "Chinese Music Dictionary

Dictionary"). In addition, after

more than 20 years of disciplinary development, the music history

academic community should have the publication of historical works that broadly absorb the results of comprehensive innovations.

2． With the three-dimensional development of the knowledge system, knowledge dissemination channels are diversifying towards digitalization and networking.

The rapidly developing network technology can make our

research on the history of ancient music

Guo Shuqun

fruitful and three-dimensional. It spread quickly to thousands of households.

The so-called three-dimensionalization refers to the electronic display method that integrates the pictures, texts,

forms and sounds of the results.

Those music history achievements produced by the intersection of music iconography, archaeology, rhythm

ology, philology, folklore, and ethnology

Now

it can be easily integrated on the Internet into

a brand-new musicology knowledge carrier

for people to use. According to the published technical information on my country's

digital libraries, Beijing Digital

Ark Technology Co., Ltd. has launched a system for processing, storing and retrieving information sources. product,

can automatically scan and enter books every minute

160 pages of information (double-sided), can process 500,000 pages of graphics and text every day, and adopts It adopts internationally adopted advanced image compression technology.

This is undoubtedly full of exciting passion for the realization of the electronic and three-dimensional prospects of musicology knowledge that we are looking forward to. In the past few days, we have also noticed that some very popular electronic books have appeared in the field of ancient Chinese music

history. . For example, "Chimes of Marquis Yi of Zeng" (CD-ROM) edited by Wang Zichu, Feng Guangsheng and Han Baoqiang, and "China

edited by Xiu Hailin Classical Music Appreciation" (series of CDs), "The Music of Epigraphy and Stone: China

Music Archaeological Data Computer Management System" developed by Fang Jianjun

(DLiu Zai Zai, "Viewed horizontally, it looks like a ridge and its side looks like a peak. Different from near and far

Different - Research on the History of Ancient Chinese Music in the 20th Century",

"Chinese Musicology", 1999) 4 issues.

Database software, etc.

3． Text-based teaching materials based on words

are showing a development trend with diversified needs. Music education facing the 21st century will develop in the direction of lifelong education for the whole society. The demand for musicology knowledge by talents at all levels

comes more

from various types of textbooks

. Therefore, music historians will pay attention to the diversification of Chinese music history textbooks

. Textbooks for various types of music history

study courses should pay attention to reflecting new

features. Some people summarize it as: (1) It should embody a kind of historical compatibility (that is, it should fully embody the role of the Chinese nation in the history of ancient Chinese music

The cognitive achievements that have been achieved in the field of study);

(2) It should reflect the inclusiveness of the times (i.e.

should include the ideas put forward by the history of ancient Chinese music

< p>New questions and new results obtained); (3) It should also reflect the expansion of logic (that is, attention should be paid to

the development of the concept of ancient Chinese music history

The logical system realizes the unification of history and logic

1). ①

4． In the face of the 21st century, "cultural integration" and "knowledge reconstruction" are probably hotly discussed topics. As far as the history of ancient Chinese music

is concerned, under the impact of this concept, I think

strengthening basic theoretical research is still a response to this culture

Important aspects of surge. China

The history of ancient music should undoubtedly belong to the "young

generation" in the

family of humanities in my country, with its breakthrough development , after the 1980s, it was recognized by many historians as the "third stage" of the development of modern music history. The history of the development of the discipline is so short that it is still inevitable that it will remain immature as a discipline. Therefore, it is still necessary to further expand the research on basic theory

. For example

For example, in terms of research on Chinese music philology and "melody textual examination

examination", there are still basic theories for innovations and breakthroughs

Research on issues that are still weak

is weak. First of all, although unprecedented progress has been made in the discipline of philology of ancient Chinese music

, but in the field of philology of traditional Chinese literature

Within the framework system, how to highlight the characteristics of music philology; in the theoretical research of music philology, the compilation and publication of music literature , there is a certain gap between the catalog and version research of music literature and the philological research in Chinese traditional culture

. As far as the research method of "melody textual research" is concerned, if the basic research on Chinese music temperament, ancient Chinese music, and ancient Chinese culture

If it is done more systematically, I am afraid Mr. Huang Xiangpeng

’s research will not appear so difficult

that he will sigh like a foolish old man moving mountains:

“Anyway, Mr. If I can’t finish it, the students will continue to do it

Well, if I can’t finish it, there will be another generation” ②

In view of this reality of ancient Chinese music history

Under the current situation, in the new century of "knowledge innovation"

, the expansion of research on the basic theories of ancient Chinese music history

may still gain momentum

Enhanced condition.

In the face of various development trends in ancient Chinese music

history in the 21st century, it is not clear whether historians

have the ability to cope

It is not something we can answer by looking back and looking forward

First of all, we see that in the past century,

especially in the past

3O years at the end of the century, the history of ancient Chinese music< /p>

Workers have achieved fruitful results in their journey to protect traditional historical research methods

and in the development and innovation of new research fields

.

In terms of literature and materials, Mr. Feng Wenci

has commented on "New Theory of Legal Studies" and "Lv Lu Jing

Yi", and Mr. Qiu Qiongsun's " "Lv of Music Records of the Past Dynasties

Collation and Interpretation of Music Records" (Parts 1 and 2), Xiao Lianzi

's "Collation and Interpretation of Music Records of Song Dynasties", Wang Kunwu and Ren

Bantang's "Collection of Yanle Miscellaneous Lyrics of Sui, Tang and Five Dynasties

", Jin Qianqiu's "Music and Dance in Song Ci

Materials", Mr. Ji Liankang's "Ancient China< /p>

Music Treatises and Translations Series", Xiu Hailin's

"Collection of Historical Materials on Ancient Chinese Music", compiled by the Information Room of the Music Research Institute of the Chinese Academy of Arts

"Chinese Music Books and Records", "Chinese Music Research Institute's

Chinese Music Sound Catalog", Guo Shuqun, Chen Qishe, Wang Zichu and Li Chengyu co-edited

"A Comprehensive Record of Centenary Treatises on Chinese Musical Rhythmology",

and the yet-to-be-published "Music and Rhythm Records of the Past Dynasties"

"Collation and Interpretation" (Volume 3, 4 and 5), "Ancient Music

Shu Hook Shen", "Music History in Chinese Buddhist Scriptures

Materials", "Yuefu Poetry Anthology Notes and Collation", etc. , they outline the bibliographic framework for the study of ancient Chinese music history. In terms of monographs on research results

, Wang Zichu's "Research on the Rhythm of Gou Xu's Flute",

Cui Xian's "Explanation and Interpretation of the Bell Inscriptions of Marquis Yi of Zeng"

< p>A Study of Its Rhythm Studies" is a work that directly addresses important problems in ancient Chinese music

music history; and

Feng Wenci's "History of Music Exchanges between China and Foreign Countries" and Tao

>

Ya Bing's "History of Chinese and Western Music Exchanges", Zheng

Zu Xiang's "Introduction to the History of Ancient Chinese Music

", Xiu Hailin's "Ancient Chinese Music" "Education

Education" is a pioneering academic work that fills the gap; in addition, other pioneering academic monographs include Qiu Qiongsun's posthumous work " "Yan Yue

Exploration", Li Chunyi's "A Comprehensive Review of Musical Instruments Unearthed in Ancient China

", Wu Zhao's "Chasing the Traces of Lost

Music—" —The History of Chinese Music in Illustrations"

etc. The multi-volume "Chinese Music Literature Series", edited by Wang Zichu, provides important information for future research with a new music history

material system.

< p>Support. In particular, the newly published "Music Questions" by Mr. Huang Xiangpeng

uses the academic

innovative style of the times as the

"knowledge innovation" of ancient Chinese music history. "Provides a vast world. At the same time, we must not forget that supporting these important monographs are thousands of innovative academic papers. They are completely isomorphic

forming the history of ancient Chinese music in the 21st century

① Sun Zhengyu "New Concepts in Teaching Material Construction", "Guangming Et

News") ) September 27, 2000 Et.

② Zheng Zuxiang "Turn "music history without music" into

music history with audible works", "Chinese Musicology" 1999

Issue 2.

March 2001, Issue 1, 25

The cornerstone of "knowledge innovation".

As far as academic development is concerned, although the development of interdisciplinary subjects has provided a broad space for innovation

in the academic research of ancient Chinese music history

p>

time, but as a discipline, it cannot

be replaced or replaced by the trend of academic development that tends to be comprehensive

. Recently, many scholars have noticed

this tendency. Mr. Zheng Zuxiang said:

“The unique

ness of ancient Chinese history and culture determines that the history of ancient Chinese music is an irreplaceable independent discipline. "① Xiu Hai

Mr. Lin said: "As a strict diachronic science, the main task of music history is still diachronic. In the narrative, according to the vertical

historical development context, tracing back to the past and present, the development of music is narrated in the long

long cultural changes. ” ② Mr. Feng Wenci mentioned that when understanding

my country’s ancient music documents, we should open up a historical

perspective and “hold

a certain concept of music culture. In line with the actual dialectical development goals of our country

Be careful not to cut history with modern musical culture

concepts, especially not with modern Western music

Concepts come to trap our country's history

history.

"Solid in the academic development at the turn of the century

, this disciplinary sense of autonomy has provided a solid foundation for the innovative development of ancient music history in China

One's own path plays a role in positioning the times

Mr. Xiu Hailin's recent article "Unfolding the Times in

Time - For Chinese Music

Reflections on opening up new paths in historical research" has given us new inspiration for the "knowledge innovation" of ancient Chinese music history.

It requires China. p>

Historians of ancient Chinese music “always pay attention

to the many cross-sections of various historical periods”;

should pay attention to “the political and economic aspects of music and society

p>

The mutual influence and restriction of various factors in economic and cultural activities in the contemporary cultural space

A diachronic description of

vertical development and the revelation of

certain laws therein, but for

in a certain *different state in history Under the music student

26

a cross-sectional analysis, the research on a certain type of music culture model is insufficient. ”④

Obviously, this new approach has innovative significance characterized by the reconstruction of knowledge. In addition, Mr. Xiang Yang

’s recent masterpiece "China "History of Bowed String Instruments", at different levels such as cultural anthropology, cultural geography, and

music archeology, creates

the different histories of Chinese bowed string instruments. Period***

The temporal cultural development space, the historical facts of the diachronic development of Chinese bowstrings

musical instruments are therefore more enriched

; Luo Qin He advocates the communication between music

history and ethnomusicology, which has opened up new ideas

for the study of ancient

music history; the efforts of these scholars have been Proposed new thinking for the "knowledge innovation" of ancient Chinese music history.

At the end of the 20th century, ancient Chinese music

< p>The field of history is also undergoing a process of replacement of old and new research talents. As witnesses of the third development stage of Chinese music history, we see

The senior scholar Yang Yinliu

in the field of ancient Chinese music history, as well as Mr. Ji Liankang, Lan Yusong, Xia

Ye and Jin Wenda used their vast intellectual wealth

< p>Fu, made all

contributions to the development of the discipline; we also endured Mr. Huang Xiangpeng

’s academic nectar sparkling with innovative spirit, and

It is shocking to witness the window of his soul that cannot be wiped out due to his unfinished career

and he is still accepting the benefits of his senior teacher who is still alive

The spiritual nourishment of future generations; of course, we are also experiencing the excitement of a new generation of academic leaders emerging from

a new academic starting point

>

The first generation of scholars in the field of ancient Chinese music history

their academic beginnings were still in vain, so

the efforts of the second generation of scholars have made the subject possible

The construction and its results have reached a considerable scale

and the growth of the third generation of scholars has already reached a professional education system that has begun to take shape

Among them, it is worth noting that the third and fourth generations of scholars who are currently qualified for

doctoral degrees have basically moved away from a single teacher. There are quite a few people who have the knowledge structure and ability of cross-disciplinary research. In this way, their knowledge structure obviously tends to

Comprehensive, and even richer in academic methods.

Especially after experiencing the impact of the commodity economy in the early 1990s, this generation of scholars believes.

Following finding their proper social positioning,

their academic potential is being nurtured and catalyzed in a good expansion

environment. For this reason, we have

reasons to believe that in the new century, the good prospects of "knowledge innovation" in ancient Chinese music history

are on the horizon. will be portrayed by this generation of scholars. Just as

Mr. Lan Yusong said a few years ago, "The new leaves in the forest

urge the old leaves, and the waves in front of the flowing water give way to the waves behind." China

China The forest of ancient music history will have deep roots and flourish in this

spectacular inheritance and replacement of old and new,

with the mutual support of the group,

Benefit the world.

(Author's note: This article is not a review of the research results of ancient Chinese music history.

The characters and results involved are mentioned based on the train of thought.

Some examples that I think can illustrate the argument of "knowledge creation

are inevitably biased or omitted.

Please correct me from my colleagues in the academic field. .

)

Author's unit: Tianjin Conservatory of Music

① Zheng Zuxiang's "Introduction to the History of Ancient Chinese Music",

People's Music Publishing House, October 1998 edition .

(Tomb) (Xiu Hailin's thoughts on developing a new path for

research on Chinese music history),

Music) Issue 2, 2000.

③Feng Wenci's "A Summary of the Catalog of Ancient Chinese Music Documents

(Part 1)", 'Journal of the Central Conservatory of Music), Issue 3, 2000

.