Music and dance for worshiping Confucius are special music and dance for the Confucius Temple sacrificial ceremony. Music, song and dance are combined with the ceremony, and are an important part of the Confucius Temple's memorial ceremony. This music and dance can only be used during major Confucius worship ceremonies such as the "National Sacrifice" and "Ding Sacrifice" (the middle month of the four seasons of spring, summer, autumn and winter, that is, the Shangding Day on the second, fifth, eighth and eleventh day of the lunar calendar). The music scores, palace tunes and dance charts used in ancient Confucian music and dances were all approved and issued by the emperor, and no one else was allowed to change them without authorization.
However, since ancient times, rituals and music have not followed each other. Generally, when dynasties change, there must be rituals and music. Therefore, the music and dances formulated to worship Confucius in the past dynasties are all different. Since the 22nd year of Yuanjia (AD 445), the reign of Emperor Wen of the Southern Dynasty, the crown prince began to use music and songs to pay tribute to Confucius. From the first year of Renshou, Emperor Wen of the Sui Dynasty, music and dance in memory of Confucius were designated exclusively for Confucius's memorial ceremony.
In the ninth year of Emperor Wude of the Tang Dynasty (AD 626), the emperor ordered Taichang Temple's ancestor Xiaosun, Xielu Lang Dou Jing and others to make "Great Tang Yale" with the meaning of "great music and the harmony of heaven and earth". Chapter Two, also known as "Twelve Harmonies". Including all royal music and dance, the music and dance of worshiping Kong are part of the Twelve Harmonies. During the Zhenguan period, Xielu Lang Zhang Wen received the imperial edict and the living Lang Lucai conducted research on the regulations and Lu again, and stipulated that "Dengge" should be used to pay homage to Confucius and Shi, "Suhe" should be played during the memorial ceremony, and the beans should be poured into and out of the beans (dou is an ancient sacrificial ritual). The musical instrument "Yonghe" is played, and the dance includes literary dance and martial dance. In the 22nd year of Kaiyuan (734 AD) of Emperor Xuanzong of the Tang Dynasty, the "Twelve Harmonies" were added to the "Fifteen Harmonies". There are seven chapters in the movement of King Xuan of Shi Dian Wen found in "Complete Poems of the Tang Dynasty", namely "Chenghe", "Chenghe", "Suhe", "Yonghe", "Shuhe", "Welcoming the Gods" and "Sending the Gods off". .
In the Five Dynasties and the Later Han Dynasty, the three chapters added during the Kaiyuan period of the Tang Dynasty were abolished, and "Twelve Harmonies" was changed to "Twelve Chengs". During the Shi Dian period, "Xuanhe" was changed to "Shiya". In the later Zhou Dynasty, "Twelve Cheng" was changed to "Twelve Shun". When Shi Dian was released, he went to "Shi Ya" and played "Li Shun".
In the first year of Jianlong (960 AD), Taizu of the Song Dynasty, he ordered Dou Yan, a bachelor of Taichang Temple and Hanlin Academy, and others to produce sacrificial music and dance, and changed the "Twelve Shun" to "Twelve An". The joy of using "Yong'an" to worship King Wenxuan. When the emperor personally offered sacrifices, the music was called "gongxuan" (the music was placed on all sides, and the dance was set up in the middle as "gongxuan" - editor's note). In the second year of Jingyou's reign (AD 1035), Renzong of the Song Dynasty, the emperor ordered Prime Minister Lu Yijian and others to revise the music and dance of the Confucius Festival and replace "Yong'an" with "Ning'an". When offering sacrifices to Confucius, "Tong'an" was played for the ascending and descending halls; "Ming'an" was played for the coin offering; "Cheng'an" was played for the drinking and blessing music; "Ning'an" was played for the drinking and blessing music; and "Ning'an" was played for the sacred music. In the fourth year of Chongning (AD 1105), Emperor Huizong of the Song Dynasty set up a special "Dacheng Music House" to preside over the formulation of music and dance to commemorate Confucius. In the sixth year of the Zhenghe reign of Emperor Huizong of the Song Dynasty (AD 1116), the Confucius Temple in Qufu was awarded a memorial movement, which added two movements: promotion and coin offering.
In the 14th year of Dading (AD 1174) of Emperor Shizong of Jin Dynasty, the music of Jin Dynasty was named "The Music of Taihe", and each movement was named after the word "Ning",
Ru Shidian The welcoming music played "Lai Ning", the toilet music played "Jing Ning", the coin laying and first offering music played "He Ning", etc.
Yuan Le *** has nineteen poems, seven chapters of music scores, 340% performance, and six or seven palace tunes. The movements are named after the word "Ming", such as "Wenming" for the greeting music, "Zhao Ming" for the washroom music, "Jing Ming" for the palace ascending and descending music, "De Ming" for the coin laying music, and "Sincerity" for the drinking and offering music. "Ming", Ya, finally presented music to play "Lingming", and sent divine music to play "Qingming". "Lexuan" still maintains the form of "Dengge".
In the first year of Hongwu (1368 AD), Taizu of the Ming Dynasty, he ordered the music officer to update the music score and rename the music with "和". In the twenty-sixth year of Hongwu (AD 1393), "Dacheng Le" was awarded to Qufu and the whole country to commemorate Confucius. In the 13th year of the Chenghua reign of Emperor Xianzong of the Ming Dynasty (AD 1477), the number of Kong music and dances was increased to "eight yi", and "笾" and "dou" (sacrifice ritual utensils) were added to twelfth, in line with the standards for the emperor's music and rituals for worshiping gods. Worship Confucius. During the reign of Emperor Shizong of the Ming Dynasty, "Xuanxuan was used for music and Liuyi was used for dance." Mingyue synthesized the nineteen pieces of Yuan music into six chapters and six melodies, and inherited the trinity of comprehensive art forms of music, song, and dance since the Tang Dynasty, making the music and dance for worshiping Confucius tend to be more complete and refined.
In the sixth year of Emperor Kangxi of the Qing Dynasty (1667 AD), he composed "Zhonghe Shao Le" again, which means "peace in the world". All the movements are named after the word "ping", and was awarded to the Chinese Academy of Sciences as a tribute to Confucius. Use. The Yingshen music played "Zhaoping", the first music played "Ningping", the Yaxian music played "Anping", the final music played "Jingping", and the Chexi music played "Xianping". When bidding farewell to the gods and praying to the gods, the lyrics are changed and the song "Xianping" is played again. The whole music consists of five songs and seven parts.
In the eighth year of Qianlong's reign (AD 1743), the music of "Four Seasons Rotating Palace" was awarded to all counties and counties across the country and the Confucius Temple in Queli. The name of the music was changed in the Kangxi period, and the whole music was added to six chapters and eight parts. Until the Republic of China, this music and dance program was basically followed.
In 1957, Mr. Wu Xiaobang and others excavated and compiled the ancient music and dances for worshiping Confucius and shot the film materials for worshiping Confucius. In 1986, in order to commemorate the birthday of Confucius and cooperate with the annual worship activities for Confucius, the Qufu Municipal Government established a special team , further researching, excavating and sorting out music and dances dedicated to Confucius based on the Records of the Sacred Gate Rites, the Records of the Sacred Gate Music, the Records of the Queli, the Textual Research of the Queli and film materials, focusing on the Qufu Troupe, with Mr. Wang Mingxing as the general manager. Mr. Zhang Yuming and Mr. Liu Deshun, the choreographer and coach of the Confucius Memorial Dance, were responsible for the etiquette procedures. Mr. Kong Xiangyin and Hu Jicheng arranged the music, integrating music, dance, song and etiquette. As a reproduction of art, they successfully arranged an antique music and dance performance for the Confucius Festival. Since 1986, dozens of performances have been performed in the Dacheng Hall of the Confucius Temple every year during the Confucius Cultural Festival. The audience includes more than 100,000 foreign guests every year, and many radio stations, TV stations, newspapers, and magazines have recorded, videotaped, interviewed and written reports. . The effect of the antique music and dance performance to commemorate Confucius is so good and its influence is unprecedented. It can be said that it shocked the whole country and spread to the world.