It was during the Eastern Jin Dynasty that there was a famous Daqu performer named Huan Yi. Huan Yi, also known as Shu Xia, was a humble and simple man who would not show off his achievements even if he had merit. Huan Yi was the best at playing the flute and was once called "the best player in the south of the Yangtze River". Emperor Xiaowu of the Jin Dynasty liked hearing him play the flute and play big tunes the most.

Once, Emperor Xiaowu of Jin invited Huan Yi to a banquet. There was also a minister named Xie Xuan present at that time. Because he was usually very aloof, Emperor Xiaowu of Jin disliked Xie Xuan very much, and he also had Jealousy.

At this time, Emperor Xiaowu of Jin ordered Huan Yi to play the flute. After playing a piece, Huan Yi said: "Although my skill in Daqu is not as good as that of playing the flute, I can still make do with playing a few pieces for the king. Please invite me." Your Majesty, please invite someone else to play the flute to accompany you. Let me perform a big song for your Majesty!"

Emperor Xiaowu of Jin Dynasty made sure to play, and he ordered the musicians to play the flute to accompany Huan Yi. Huan Yi added: "This court musician must not cooperate well with me. I have a domestic slave who cooperates very well with me."

Emperor Xiaowu of Jin ordered someone to find a domestic slave. Playing the flute, Huan Yi sang:

It is not easy to be a king, but it is even harder to be a minister. Loyalty is not apparent, but disloyalty and suspicion lead to misfortune. Zhou Gongdan assisted in literature and martial arts, and the contribution of "Jin Sheng" is indelible. The second uncle Guan and Cai spread rumors.

"Jin Sheng" is an article in "Shang Shu Zhou Shu". It is said that when King Zhou Cheng was seriously ill, Zhou Gongdan prayed for him and was willing to take his illness for him. This prayer was later hidden in a cupboard. After King Cheng of Zhou came to the throne and Gong Dan of Zhou assisted the government, King Cheng discovered the prayer book and realized Gong Dan's loyalty.

Huan Yi used a performance of a big song to admonish Emperor Xiaowu, telling him not to suspect Xie Xuan. After Xie Xuan listened to this great song, his tears flowed down, almost soaking his clothes. Emperor Xiaowu of Jin also felt extremely ashamed.

In fact, in the Eastern Jin Dynasty and the early Liu Song Dynasty, some better works appeared in the creation of Qing and Shang music in the court. Among them, the flute music "Three Plum Blossoms" composed by Huan Yi, a famous musician in the Eastern Jin Dynasty, is more famous.

"Three Plum Blossoms" has a concise structure and simple tunes. There is a loose introduction at the beginning, followed by a bright and powerful theme melody. It is compared with several other unrestrained tunes three times in different registers, repeatedly depicting and praising the plum blossom's character of not being afraid of the frost.

The musical form of this piece is characterized by the extensive use of refrains. Each section ends with the same final sentence, which may be the "send" in Qing Shang music. The same theme melody reappears repeatedly in three registers: high, low, and middle. This is also a commonly used technique in Qing Shang music.

From the perspective of flute music, it is the so-called Shangsheng Nong, Xiasheng Nong, and You Nong, collectively known as the Three Nongs. In fact, it starts with a refrain, and each piece of music ends with the same final line, which is common in Xianghe songs. Therefore, through "Plum Blossom Three Lanes", we can clearly see the formal inheritance and development relationship between Qing Shang music and Xianghe songs.

Although most of the creations of Shang music in the Song, Qi, Liang, and Chen dynasties in the Qing Dynasty were beautiful songs with fat and pink fragrance, such as "Yushu Backyard Flowers" and "Spring River Flowers on a Moonlit Night" by Chen Houzhu ", etc., but there are also excellent works that are fresh, lovely and worth pondering, such as "Crying in the Night", which is said to have been written by Liu Yiqing, King of Linchuan in the Liu Song Dynasty, and "Yang Chun" with lyrics written by Tan Yue of the Southern Qi Dynasty. "Crying in the Night" was originally a Western tune with songs and dances. It is said that its tune is quite sad and moving, and its accompaniment form, singing and dancing style are completely different from Wu Sheng's "Midnight" and "Qianxi". The poem "Crying in the Night" by Yu Xin of the Northern Zhou Dynasty and Li Qunyu of the Tang Dynasty can provide evidence.

Qing Shang Daqu still retains some characteristics of Western music, such as the extensive use of refrains, the scale form with the core five tones as the backbone, and the use of partial tones and other changes in the seven-tone structure such as Qingjiao. Like "Eighteen Beats of Hujia" and other songs, chromatic diacritical marks are often used to decorate the same phrase when it is reproduced in different ways. In addition, the same refrain that appears between paragraphs 4 and 5 and 7 and 8 is roughly consistent with Western music in terms of musical form structure.

The rhythm and mood of its tune are also completely consistent with the lyrics of the Western song "Crying in the Night" and "Yangchun" was originally one of the four songs of Shen Yue's "Jiangnan Lane" in the Six Dynasties. The tunes are all from the West. Quite.

The music score of "Yangchun", which was rewritten by Shen Yue, has long been lost. Although the score of "Yangchun" does not have lyrics, it clearly retains the characteristics of a vocal piece, which is almost completely consistent with Shen Yue's lyrics.

"Yangchun" uses refrains throughout. Its refrain mode is that except for the first sentence, which is sung over the previous sentence, all other sentences are sung over the next sentence. The next line of this kind of refrain may be the harmony sung by others. It usually has fixed lyrics.

In addition, the 12 pieces of "Fa Yue" written by Wang Rong, a musician of the Southern Qi Dynasty, and the 7 pieces of "Shangyun Music" and 10 pieces of "Zhengyue" written by Emperor Wu of the Liang Dynasty are the products of promoting the unity of Confucianism, Buddhism and Taoism, reflecting the The profound influence of theological thought on musical art.

After the Sui Dynasty unified the country in 589, there was still a Qing Shang Administration, which was responsible for Qing Shang music since the Six Dynasties and all the old Han and Wei songs preserved at that time. The general name was Qing Shang music, or Qing music for short. .

During the reign of Emperor Wen of the Sui Dynasty, Qingyue, as the main voice of China, was listed after the state opera among the seven kinds of music, and received considerable attention. The main repertoire includes "Mingjun", "Guangling San", "Ji Chu", "Spring River Flowers on a Moonlit Night", "Yushu Backyard Flowers", etc.

Emperor Yang of the Sui Dynasty also loved Qing music very much. He once asked musician Bai Mingda and others to use its tunes to create new lyrics, such as "Dragon Boat Floating", "Fighting Baicao", etc.

The typical musical form of Qing and Shang operas also consists of three parts, namely the introduction, the main body of the music and the ending. It is caused by several pieces of instrumental music, called several chords. For example, the Se tune has seven strings, the Qing tune has five strings, the Ping tune has eight strings, and the Chu tune has one string.

The main body of the music consists of multiple sections of singing and instrumental accompaniment, called singing strings. Every time a verse is sung, there is always a "sending" sound from the instrumental music at the end. The concluding part is several pieces of instrumental music, called Jibu Xian, which is sometimes replaced by Qi. The ending of "Ming Jun" is "Qi".

The lyrics of Qing Shang music in the Sui Dynasty consisted of a number of five-character and four-sentence short poems. Western short poems often used harmony and sometimes also used singing. For example, in "Western Birds Flying at Night", the harmony at the end of each two lines is "The white sun sets over the western mountains, and it comes back again", and the final sound is "The bird with broken wings flies, but it is bounced back."

Compared with the Qing Dynasty Shang Daqu and Xianghe Daqu, although the basic skeleton is the same, the internal structure is more complex and the proportion of instrumental music is also larger. The use of "send" shows the influence of Wu Sheng's Western music on it.