After the establishment of the Song Dynasty, stories were gradually performed using the tunes of major operas. For example, "Sword Dance" uses the opera "Sword Instruments" to perform the Hongmen Banquet of the Chu and Han Dynasties and the story of Du Fu and Zhang Xuguan's sword dancing by Gongsun Auntie. "Zheng Sheng Meets the Dragon Girl Bo Mei" uses the song "Bo Mei" to perform the story of Zheng Sheng's encounter with the Dragon Girl. "Crying Dice Yingzhou" is a funny story based on the song "Yingzhou".
These all show that the music of the Song Dynasty gradually evolved in the direction of musicals. Many sections in the Daqu gradually became Qupai, scattered among lyrics, operas, raps, instrumental music and other songs, and the whole Daqu gradually disappeared.
After the Southern Song Dynasty, although there were still music institutions such as Jiaofang and Yunshao Department in the court, the talents were scattered and Yan music was in extreme decline. Since then, the mainstream of music development has shifted to the emerging citizen class art. Court music, whether it is Yanyue or Yayue, has lost its momentum of development.
In the Song Dynasty, Yanle or banquet music existed in the court, but it was completely different from the Yanle in the Sui and Tang Dynasties.
The music education in the Song Dynasty was roughly the same as the music education in the Tang Dynasty. This was directly related to the social and political system, social conditions and the attitude of the rulers towards the music industry at that time. Music education and performance institutions such as the Jiaofang, Music Department, and Propaganda Department in the Tang Dynasty were all inherited by the Song Dynasty.
Compared with the Tang Dynasty in terms of educational purpose, teaching system, teaching management and content, the scale is similar, but the quality is not as good as the Tang Dynasty. The court of the Song Dynasty followed the old system of the Tang Dynasty, and the Jiaofang was in charge of Yanle, which was large-scale.
The Jiaofang in the Northern Song Dynasty was divided into four divisions, namely the Daqu Division, the Faqu Division, the Qiuci Division, and the Drum and Flute Division. Each department uses different instruments and specializes in repertoire. There are three types of Jiaofang music, one is adaptation of old music, one is created by musicians, and the other is created by the emperor himself.
In the Southern Song Dynasty, Jiaofang Da Le was called "Yan Le" to distinguish it from the popular music known as Da Le. The main musical instruments used by the Jiaofang Music Club in the Northern Song Dynasty and the Southern Song Dynasty include the flute, dragon flute or flute, sheng, Xiao, pipa, square ring, fingerboard, stick drum, big drum, etc. The Northern Song Dynasty Jiaofang used Xun, Chi, Konghou, Jiegu, etc., but the Southern Song Dynasty Jiaofang did not use them.
Since the Southern Song Dynasty, folk music has developed rapidly. More and more palace performances have been performed by folk artists, and the scale of Jiaofang music has tended to shrink.
Jiaofang was an organization that managed the performance of music, dance and drama in the palace from the Tang Dynasty to the Qing Dynasty. On the one hand, ancient teaching workshops cultivated a large number of musical talents for the country and promoted the development of ancient music in our country. On the other hand, after these artists returned to the folk for various reasons, they promoted the development of folk music. Therefore, the role of the Jiaofang is obvious.
The Jiaofang of the Song Dynasty inherited the Tang Dynasty and also had its own characteristics. Since folk tile shops began to flourish in the Song Dynasty, Jiaofang in the Song Dynasty was not as prosperous as in the Tang Dynasty.
In the early years of the Northern Song Dynasty, a teaching workshop was set up in Bianliang, the capital, which was divided into four groups. After that, the Song Dynasty pacified various places in the south and recruited many new musicians from various places.
The function of the Jiaofang in the Song Dynasty was similar to that in the Tang Dynasty, mainly performing banquet music. In the Northern Song Dynasty, it was divided into four departments: Daqu Department, Faqu Department, Qiuci Department, and Gudi Department, which were responsible for the teaching of different music types.
In the Southern Song Dynasty, it was further divided into 13 colors according to the types of musical instruments and performances, including the Zhen color, the big drum, the stick and drum, the beat color, the flute color, the pipa color, the zheng color, and the square sound color. Color, Sheng color, Dancing color, Songban color, Zaju color, and Military participation color each have a radical or color length.
Music literature was very prosperous in the Song Dynasty. Its developed music culture and complete music system laid a solid foundation for the development of music literature in this period. As an important court music institution in the Song Dynasty, Jiaofang not only fully participated in the creation of music literature in the Song Dynasty, but also profoundly affected the development process of music literature in the Song Dynasty with its creation and performance practices.
The Jiaofang was the most important Yanyue institution in the Song Dynasty court, directly serving various banquets held in the court. With the strong support of the imperial court, Song Dynasty Jiaofang gathered the best musical talents at that time, used the most sophisticated instruments, and played a leading role in the music industry.
It can be said that the activities of Jiaofang in the Song Dynasty were an important factor affecting the development and changes of music literature in the Song Dynasty. Both the prosperity of Song poetry and the rise of Song drama are closely related to Jiaofang activities.
The lyrics and music creation activities of Jiaofang had an impact on the music literature of the Song Dynasty, and promoted the development of music literature at that time through music creation. As a musical institution of the imperial court, writing lyrics for dynastic celebrations is one of the responsibilities of the Jiaofang. As recorded in "History of the Song Dynasty":
During the Jianlong period, everyone in the church knew that Li Desheng composed "Changchun Music", and in the first year of Qiande, he also composed "Long Live Shengping Music". In the second year, everyone in the senior class of the Jiaofang knew that Guo Yanmei had composed the drum music "Ziyun Changshou Music".
In addition, there are many records in this regard in other ancient books. A large amount of materials show that in order to meet the needs of palace entertainment or various ceremonies, creating lyrics and music is one of the important responsibilities of the Jiaofang.
Because the songs composed by Jiaofang musicians are beautiful and catchy, they are often widely spread among the people.
According to "Yuefu Zhimi" written by Guo Maoqian, a scholar from the Song Dynasty, it was said: The predecessors had many good words, but few associated rhythms, so they were not used for singing. The music in the Qin Lou Chu Hall is generally the work of Jiaofang musicians and market musicians.
This shows that the prosperity of Song poetry is closely related to its distinctive musicality and popular character at that time.
"Ling Gong's Ci" promoted the development of music literature of that era with its moving music and easy-to-understand lyrics.
Because Song lyrics are a genre that combines musical elements and literary elements, there are often two creative subjects behind the success of lyrics: one is the composer and the other is the lyricist. The success of a lyricist is often inseparable from the success of a songwriter.
According to the Biji Manzhi written by Wang Zhuo, a scholar of the Southern Song Dynasty:
There was a man in Jiangnan who was proficient in music and often composed music. He was related to Zhou Bangyan, a great poet at that time. Very good, every time I compose a new song, I have Zhou Bangyan write the lyrics, so there are many new sounds in Zhou Bangyan's lyrics.
From this point of view, the many facts about the interactions between famous poets and Jiaofang musicians in the Song Dynasty are not only a simple meaning of interpersonal relationships, but actually a practical way of creating music and literature.
Also, according to the "Records on Summer Vacation" written by Ye Mengde, a scholar in the late Northern Song Dynasty, it is recorded:
Liu Yong is good at composing lyrics, so the musicians in the studio have new songs, Liu Yong was invited to write lyrics. Therefore, Liu Yong has a great reputation. During the Yongchu period, he wrote "Shangyuan Ci", which was very popular in the palace.
In addition, "Mianshui Yan Tan Lu" written by Song Dynasty scholar Wang Pizhi also records Liu Yong's lyrics. The original text is recorded as follows:
There was a person named Shi , cherished Liu Yong's talent very much, and once they entered a new song "Drunken Penglai" in the workshop, Song Renzong happened to be very happy and recommended Liu Yong to write the lyrics. Liu Yong happily started writing and completed "Drunken Penglai Man".
These show that the words written by the lyricist Liu Yong and the then national-level composer Jiaofang Musician *** became popular songs of that era.
Therefore, it can be said that Song Ci, as a kind of musical literature, was completed by lyricists and composers. Most of the composers were musicians in the Song Dynasty, which indeed contributed to the development and prosperity of Song Ci. made important contributions.
Jiaofang not only influenced the music literature of the Song Dynasty, but also directly participated in the creation of music literature lyrics of the Song Dynasty. The first is to participate in the creation of lyrics and music, the second is to directly create lyrics, the third is to compose music for lyrics without music and complete the musical and literary form of lyrics, and the fourth is to change old musical and literary works to give them new vitality.
Jiaofang also greatly enriched the artistic style of Song poetry. Because Jiaofang musicians participated in the creation of music and literature in the Song Dynasty and exerted considerable influence, and because these Jiaofang musicians who participated in the creation of music and literature had roughly the same living environment and formed roughly similar aesthetic concepts, they formed The so-called Jiaofang style. The graceful and romantic Jiaofang style undoubtedly greatly enriched the artistic style of Song poetry.
The Jiaofang also affects the development of music literature through music level evaluation and music policy formulation. It should be said that Jiaofang's significant influence on the music literature of the Song Dynasty is inseparable from its lofty status in the Yan music system of the Song Dynasty. Jiaofang in the Song Dynasty was a gathering place for outstanding musical talents at that time, representing the highest level of development of music art at that time.
According to the historical book "History of the Song Dynasty", Jiaofang musicians were selected from all over the country. Therefore, Jiaofang gathered a large number of outstanding musical talents and became an authoritative organization for evaluating music level at that time.
According to the history book "History of the Song Dynasty", Zhu Wei, a Langguan during the Zhenghe period, was good at music, especially playing the flute. He was highly praised by the church and attracted Huizong's attention. With the help of Jiaofang musicians, Huizong conducted a test on Zhu Wei's musical skills and awarded him the official position of classical music. This example is enough to illustrate the authoritative position held by Jiaofang in the music industry at that time.
Musicians had an authoritative position in the field of Yanle. In the court's formulation of Yanle policies, Jiaofang musicians often played an overt or covert role. According to later records in "Hui Feng Ci Hua" written by Kuang Zhouyi, a scholar in the late Qing Dynasty:
Ding Xianxian, the ambassador of Jiaofang, was a famous musician at that time. When the imperial court was formulating the law and regulations policy, Ding Xian found that these types of religious musicians were often consulted. After the new music is made, they are still the judges of the success or failure of the new music.
Since Jiaofang musicians are practitioners of musical activities such as composition and performance, their likes, dislikes and professional ethics often secretly affected the imperial music policy.
The imperial music policy of the Song Dynasty was the basis for music creation. A set of new rules and regulations often gave birth to a large number of new music items such as "Yellow River Qing" and "Jiao Zhao". The participation of Jiaofang musicians in the imperial music policy would undoubtedly have an indirect impact on the music literature of the time.
Jiaofang performance practice plays an important role in the spread of Song poetry. In the Song Dynasty, Jiaofang was actually an important center for the spread of Song poetry. Ye Shenxiang's "Ben Shi Ci" records the relationship between Song Dynasty poet Zhou Bangyan and Song Dynasty Jiaofang:
Zhou Bangyan was good at music, and every time he made a new tune, Jiaofang competed to spread it. There are many more like this.
Jiaofang performance practice had an important influence on the creation of Song poetry. The performances in the studio are actually a consumption process in art production, and the demand for consumption will inevitably lead to an increase in production. The historical fact that the Song Dynasty's lyrics and music are often related to Jiaofang music practice proves this point.
The lyrics and works of the Song Dynasty were closely related to the banquets held in the palace at that time. Since the Jiaofang was the most important palace music institution at that time and had the function of serving the palace banquets, in many cases these The lyrics and chapters submitted were all sung by Jiaofang; the demand generated by Jiaofang's performances also had a positive impact on the artistic production activity of making lyrics and chapters.
The performance practice of Jiaofang in the Song Dynasty greatly influenced the singing techniques of Song lyrics. Due to Jiaofang's palace background and its core position in the Yan music institutional system of the Song Dynasty, and also because Jiaofang had an absolute advantage in artistic level, the vocal techniques that Jiaofang summarized in his performances became the basis for the entire music industry at that time. technical standards to be followed.
Jiaofang’s performance practice also shaped the popular characteristics of music and lyrics. Because most of the musicians in Jiaofang had excellent skills, they had a huge influence on the music culture and popular trends of the time. It is on this basis that the preferences of Jiaofang musicians sometimes have a certain guiding effect on the creation of poets.
In addition, the performance practice of Jiaofang also had a great influence on the formation and development of another music style drama in the Song Dynasty. The Song Dynasty was a period when Chinese drama forms gradually matured. According to Wang Guowei's conclusion in the book "History of Drama in Song and Yuan Dynasties", Song Dynasty Zaju and Song Dynasty Daqu are two important sources of Chinese drama.
Zaju is one of the common performances in Jiaofang in the Song Dynasty. According to the "History of the Song Dynasty", in the three banquets held every year in the Spring, Autumn and Holy Festivals, each time it progresses to the tenth and tenth When five cups of wine are served, there will be a Zaju performance by the Jiaofang according to the order. The original text records:
There are thirteen pieces of Sanyue Chuanxue Jiaofang, and only the Zaju is serious.
It can be seen that drama occupies a considerable proportion in the performances of Jiaofang. In addition, Daqu is also a must-have performance item in the Jiaofang. According to the "Music Book" written by scholar Chen Biao, there were as many as 40 Daqu pieces that Jiaofang musicians at that time had to be able to play.
It is recorded in the historical book "History of the Song Dynasty" that the lyrics of the Song Dynasty operas are "connected with words", and there is also the phenomenon of "incorporating stories into the dance". This is a very clear sign of the development of the form of opera in later generations. obvious. In this way, the frequent performances of Zaju and Daqu in Jiaofang will inevitably have positive significance for the formation and development of drama.
The performance practice of Jiaofang is of positive significance to the organization and preservation of Song Dynasty music literature. Since Emperor Wu of the Han Dynasty established the Yuefu, the Yuefu has had the tradition of sorting and collecting folk songs due to the needs of performances.
As one of the Yuefu institutions, the Song Dynasty Jiaofang also has the function of preserving related musical works. Ouyang Xiu, a litterateur of the Song Dynasty, believed in his "Six One Poetry Talk" that after "The Song of Colorful Dresses and Feather Clothes" disappeared among the people, the teachings still had a legacy.
The Xiunei Division was once the management department of the Jiaofang Heritage Teaching and Music Institute. According to "Mengliang Lu", the Jiaoyue Institute was indeed a subordinate institution of the Xiunei Division. The Jiaofang Ambassador Ge Shoucheng once wrote 40 major songs. Daqu is a musical art form mainly performed by Jiaofang.
It can be seen that most of these musical works published by Xiu Nei Si should be preserved by the church. This will inevitably play a certain role in promoting the development of music literature at that time.
In short, Jiaofang was the most important music institution in the Song Dynasty. It was established to meet the entertainment and other spiritual needs of the emperors of the Song Dynasty. Focusing on the theme of satisfying spiritual needs, Jiaofang launched a series of activities as the key to connecting production and consumption in artistic production, and made outstanding contributions to the prosperity and development of music literature in the Song Dynasty.
During the Song and Song Dynasties, the rise of Cheng-Zhu Neo-Confucianism made the feudal ethics concept even stricter. At that time, the upper class generally accepted Cheng-Zhu Neo-Confucianism, and they no longer paid as much attention to acrobatics as the rulers of the Han and Tang Dynasties did. Although the Song Dynasty inherited the Tang system, it was still set up.
With the development of agriculture, commerce has become increasingly prosperous, and the population continues to gather in metropolitan areas. Bianliang, the capital of the Northern Song Dynasty, and Lin'an, the capital of the Southern Song Dynasty, both had populations of over one million at their maximum.
Therefore, many historians believe that the citizen class had appeared during the Song Dynasty. Citizens need entertainment, and Baixi music artists live among the people to support their families. In this way, the citizen class accepts Baixi music artists. Baixi acrobatics needed a venue to perform in the market, so Washi came into being.
Wasi is a recreational and commercial gathering place that emerged with the formation of the citizen class in the Song Dynasty. The tiles and tiles outline its characteristics and have nothing to do with the architecture. The number and scale of the buildings in the capital of the Northern Song Dynasty can be said to be unprecedented. The same is true for Lin'an in the Southern Song Dynasty. According to the "History of the Song Dynasty":
The famous tile shops in Lin'an should be the south tiles by Qingleng Bridge, the middle tiles of Sanyuan Tower, the north tiles of Zhong'an Bridge, and Sanqiao Street of Dawa etc. The north tile is the largest, with thirteen hook rails inside. In order to facilitate the performance and separate the audience, railings or curtains were often used in the tile houses, which were called goulan at that time, not the kind of goulan that was specifically referred to as brothels in later generations.
In short, the tile-making skills flourished and matured in the Song Dynasty. The rise of Washi has brought music originally originated from the folk back to the folk.