About 7 years ago, the ancestors of the Naxi nationality created "Stone Collapse and Fine Mile", which is translated into Chinese as "Baisha Fine Music", which is a classical music technical form circulating in the rural areas of the Naxi nationality in Lijiang. There are songs and dances in Baisha Fine Music, but its main component is instrumental ensemble. Bai Sha Xi Le is a folk music suite, which is used to play music in funerals or major ancestor worship festivals. At that time, there were even more specialized musicians, and their playing skills were quite superb. Later, most of the performers were semi-professional folk artists, who took part in performance activities when invited.

According to the historical materials of local chronicles, Baisha Fine Music was popular in Lijiang in the middle of the 19th century, that is, more than 2 years ago, and it was said that it was music handed down in the Yuan Dynasty. According to the investigation of "Fragrant Music in the Collapse of Stones" conducted by the Propaganda Department of Lijiang County in 1962, there are fourteen pieces of this music, including "Du Du", "A Book", "San Si Ji", "Ali Gong Jin Pai" and "Curtain".

Bai Sha Xi Le disappeared in the clouds before liberation. After liberation, the Party and the government attached great importance to Bai Sha Xi Le, and there were more than ten activities of study, interview and collection before and after. In 1956, the cultural department of Lijiang County also organized an amateur ethnic band to participate in the "Yunnan Ethnic and Folk Music and Dance Concert" held in Kunming, and won the first prize. Lv Ji, the former chairman of China Musicians Association, said that "The Rock Collapse is a living fossil of China music" and gave some affirmation.

There have been many theories about the historical origin of Baisha fine music. Due to the age and lack of information, the history of music is even more confusing. From the sources of various statements, it can be roughly divided into the following three categories: the first category is ancient literature records. For example, the "Lijiang Mansion Records" compiled in the eighth year of Qing Qianlong (1743) has such a record: "All kinds of foreigners have songs and dances, and musicians call them' fine music'. Zheng, flute and pipa are the same as those made in Han Dynasty. Its tune also has the names of Daodiaoling, A Book and Parasitic Grass, which is said to be the last sound of Yuan people. " This is the earliest known record about the history of Baisha fine music, which is believed to have started in the Yuan Dynasty. Similar to this statement, there is also a record in Lijiang County Records in the late Qing Dynasty: "In reality, the younger brother of Yuan Dynasty crossed the river with a leather bag. According to legend, his music includes huqin, Zheng, flute and various instruments, and his tunes include Nanbei Qu, Daodiaoling, A Book and Parasitic Grass. On the occasion of the libation, the host asked the musicians to play the Quling side, which was called' Xile', touching and touching. It is also cited, and it is also sent. " It can be seen that Baisha fine music has been used as funeral music at least in Qing Dynasty. According to "Yunnan Series, Mr. Yixiao, Poet's Money, Ju Dian Ju Ren", "After all, this song was created by the people. When Mu's family flourished, Yongning Yi led a crowd to attack, and Mu's family ambushed Beisha for it, and wiped out Yi. Folk made this song to hang it, and the ancient cloud' Beisha Fine Music'. Those who' thin pears' are also happy ... "The author Mr. Yixiao (1827~1887) is a native of Lijiang, which is obviously different from the above two records.

the second category is folklore. There are many such statements, mainly two kinds. On the one hand, it is said that Baisha Fine Music was one of the gifts that Kublai Khan gave to A Liang, the leader of Naxi nationality. In the first year of Lizongbao in the Southern Song Dynasty (1253), Guxianzong of Mongolia ordered his younger brother, later Kublai Khan of Yuan Shizu, to personally expedition Dali, and A Liang, the leader of Naxi, greeted the Mongolian soldiers in Labajiang with courtesy. Soon, Kublai Khan invaded Dali, and when he sent his troops to the North, he was named "Chahan Zhang to govern the people" as a thank-you to A Liang, and he also gave A Liang a lot of gifts. Among them, it includes half a team of musicians and half a score. This story of Kublai Khan's expedition to the south was clearly recorded in the genealogy of Naxi Sect in Ming Dynasty. But there is no mention of music in the record of gifts. The second is for the dragon princess. According to legend, King Mu wanted to annex Xifan, so he married his daughter Princess Longnv to Prince Xifan. After learning the news, the dragon lady wrote a letter, hung it around the dog's neck and took it to Xifan. When Prince Xifan knew this plot, he led his troops to attack Lijiang. But it was defeated by the king of wood. King Mu immediately imprisoned the princess in the Yulong Pavilion in Yulong Lake. After the death of the princess, people created white sand and fine music in memory of her. Therefore, Baisha Xile has a sad mood like the cold wind, light rain and frost, and there are often people who feel sorry for the suffering of the world of mortals after hearing this music and cry. This is a beautiful story, and Bai Sha Xile's famous songs, A Book, The Princess Crys, Barefoot Dancing, Ali Ligeji Pai, are also mixed into the story.

the third category is the research of contemporary scholars. For example, Mr. Mao Jizeng, a Beijing scholar, made a field trip to Lijiang in 1962. According to the investigation data, he thinks that Baisha Xile may have been introduced into Lijiang when the Mongolian army entered Yunnan in the Yuan Dynasty. Because some Mongolian soldiers stayed behind for a long time and settled in Lijiang, this music has been passed down with them to this day. In addition to the records in the above two local chronicles, there are the following points: 1. It is a fact that some Mongolian soldiers stayed in Lijiang. Nowadays, the name of a local village is translated into Chinese as "the village where Mongolians live", and some local people also call themselves descendants of Mongolians. 2. Playing Baisha fine music and working Mongolian costumes, while other folk performing arts have no such custom. 3. Among the bands of Baisha Xile, there is a kind of instrument called "Su Gudu", whose shape is basically the same as that of "Fire without Thinking" recorded in Yuan history, and there is no such instrument in the vicinity of Lijiang and other places in Yunnan. In addition, Mr. Huang Zhenfang, a scholar in Yunnan, thinks that Baisha Xile is not only a "legacy of Yuan people", but also a Kunqu opera introduced into Lijiang, Yunnan in the middle of Ming Dynasty. Its basic form is the combination of north and south. Mr. Huang mainly made textual research from the aspects of the name of Qupai, the comparison of musical form and accompaniment characteristics, and the analysis of other historical materials. For example, in Baisha fine music, there are songs with the same name or similar to North and South songs, such as "North and South Songs", "Wandering Orders", "Parasitic Grass" and "A Flower". In melody, Baisha fine music and Kunqu singing have many characteristics in common; In terms of structure, the rules of composing Baisha fine music are consistent with the combination of Kunqu music in many aspects, and so on

Musical style

The music of Baisha Xile is sad and lingering, mainly composed of Du Du, A Book, San Si Ji, Ali Li Ge Ji Pai, Mei Ming Wu, Stamping Cuo, Kang Cuo and Curtain. Most of the tunes of Baisha fine music are feathered, including pentatonic seven-tone scale and six-tone scale, and some parts use pentatonic scale, such as "Three Thoughts".

There are also melodies with slow rhythm, gentle style and clear and beautiful melody in Baisha fine music. Such as the famous "A Book". There are also the namesake tunes of A Book in Yuan Qu and other Han folk music, and A Book in Baisha Fine Music is likely to be the legacy of Yuan people. From the perspective of musical form, its gentle and graceful interest is in the same strain as that of Nanqu in Kunqu Opera. On the other hand, the characteristics of re-do-la and la-sol-mi, which frequently appear in the tune, also vaguely reveal the style of northern grassland music. The musical structure of Baisha fine music is flexible and eclectic. It can not only play seven parts continuously into a complete large-scale divertimento; You can also use each part separately and appear independently. Musically, there is an internal organic connection between the parts. This is because some of the materials in these two important pieces of music, Du Fu and A Book, have been repeatedly used in various parts after various developments and changes.

Musical Instruments and Band Compilation

The band of Baisha Xile is composed of Naxi musical instruments, which also reflects the phenomenon of multi-ethnic cultural integration. Musical instruments can be divided into three groups according to the different ways of playing: one is wind instruments, including clarinet, flute and Bobo. Among them, the flute is the main musical instrument, while Bobo is a unique bamboo musical instrument of Naxi nationality. The second is plucked musical instruments, mainly including Zheng, Pipa and Su Gudu. Nowadays, the Zheng is almost no longer used. Su Gudu is also called "Hu Bo", which looks like "fire without thinking". The third is to play stringed instruments, and there is only one kind of two springs, which are similar in shape to the Han Huqin. The band organization of Baisha Xile is not fixed, and it can range from 3 to 4 people to more than 1 people according to the application occasion and the rich and poor situation of the owner. The two most common establishments are 8-person group and 4-person group. In the performance, the arrangement of bands has certain rules: the band must be located on the right side of the platform and behind the curtain. Players are arranged in order of age, with the older in front and the younger in the back.

Ritual

Like funeral music of other nationalities, the funeral of Naxi nationality has a set of fixed ritual norms. The band of Baisha Xile is organized and led by an elderly person, and it is performed in strict accordance with the prescribed ceremonies. At the same time, each ceremony is accompanied by corresponding music. The funeral of Naxi people is generally divided into three days. The order and music played in the three days are different.

the first day is "hanging white". Hanging white things is a custom of Naxi nationality. When someone dies in the family, a white paper lantern is hung in front of the gate to show that there will be a funeral at home. On the afternoon of the first day, there will be three tributes in front of the dead. At the second tribute, the band played Benedict. After offering the tribute, we should recite the eulogy, and the band will play "A Book". At this time, relatives and friends came to mourn and died, and the band played "Benedict".

the next day is a "positive sacrifice". The memorial service, also called memorial service, is the most important day in the funeral. At the beginning, it was "Dedicating the Lord". During this ceremony, the band played "The Princess Crys". In the following ceremony, the band played A Book. While the children of the deceased were crying, the band played "Benedict". In the afternoon, relatives and friends sat together, listening to the fine music of Baisha, and pinning their grief over the king with music. In the general style, Du Fu, A Book, San Si Ji and Ali Li Ge Ji Pai are played together. In the evening, the performers stood in a row, facing the platform, and sang "Elegy" together. Then, the performance of "Bow and Sword Dance" and "Barefoot Dance", the performer danced around the table with pine wool in his hand, and stopped to sing to the dead every week. Then, over and over again. According to the custom of Naxi nationality, if the deceased is a man, he has to jump nine times, and if the deceased is a woman, he only jumps seven times. During the dance, the band accompanied by A Book.

the third day is "seeing the spirits off". Send the spirit to the funeral. When walking, the performer is in front and the coffin is closely followed. His tracks are "Du Du" and "A Book". According to the custom, Baisha Xile's band does not need to send the coffin to the cemetery, but can go home halfway. At this point, Baisha Xile's three-day funeral music ended.

Before liberation, the tracks played by the band in funeral activities were divided into different occasions and there were strict rules. It can be called Baisha fine music as funeral ritual music. Later, due to the change of funeral customs, it could not be fully played in folk occasions. Now, the tracks and rules played in funeral activities are more casual. With the social progress, Baisha fine music no longer exists in the form of folk customs, but gradually penetrates into extensive and frequent social activities in the form of self-entertainment performances. No matter when building a house, festivals, religious ceremonies, mass gatherings and other places, you can find traces of Baisha Xile. Lijiang Dongjing ancient music, which is a strange kind of music that combines Taoism in the Central Plains with Naxi folk music. It has a long history and is widely circulated among the Naxi people in Lijiang. It miraculously preserved some words and qupai music in the Tang, Song and Yuan dynasties that had been lost in the Central Plains.

Naxi ancient music has a strict way of inheritance. Most of the performers are old artists and their musical instruments are very old. They follow the way of taking the teacher as the apprentice or the father as the tape, so that the ancient music can be handed down from generation to generation, and preach by oral instruction and heart instruction through the medium of Gongchi notation. The master sang Gongchi music and taught it sentence by sentence, while the apprentice recited it sentence by sentence. Learn to play a musical instrument while reciting the Gongchi score, and then practice it gradually, learning and playing until you are proficient one by one. It is precisely because of this strict way of inheritance that Naxi ancient music has survived to this day.

The Naxi Ancient Music Club, which integrates ancient music, ancient musical instruments and artists with long life, is known as a rare "three treasures". The music played by the ancient concert has a long history, simple and elegant, dating back to the Tang Dynasty. More than half of the members of the ancient music club are old artists who are over 6 years old. The ancient musical instruments used by the band include Su Gudu, Quxiang Pipa, Bobo (reed pipe), as well as bamboo flute, Datihu, Zhonghu, Xiaoxiaohu, Sanxian, Wuyin Yungong, Zhonggong, small cymbals, cymbals, gongs, drums, handles, wooden fish and parallel. This kind of music has long been lost in the whole country, because it is an organic combination of Taoist classical music (which still exists sporadically in other places) and Confucian "elegant fine music" "Fine music" since the Yuan Dynasty is relative to "big music" (rough music); It is relative to the use of suona. "Fine music" is an elegant Confucian music of silk and bamboo. This kind of "Lijiang Dongjing Music" without suona is an artistic treasure that is different from the Taoist music system in various parts of China. It is precious because it still retains a part of ci and qu music that has long been lost in the Central Plains. The lyrics of these tunes, such as Shui Long Yin, Langtaosha and Mountain Slope Sheep, are only kept as classical Chinese textbooks for literary appreciation, which means that the melody itself has long been lost. For example, Shui Long Yin, formerly known as Long Yin Qu, was written by Zheng Shuzu, a senior minister in the Northern Qi Dynasty (562~ 565): "... The ancestors could play the drums, and they made their own" Ten Rhymes of Long Yin "... which was considered wonderful at that time." It is a five-string guqin music (Biography of Zheng Shuzu in Volume 26 of the Book of Northern Qi Dynasty). In the prosperous Tang Dynasty, Li Bai (71~ 762) wrote the phrase "The flute plays the dragon and sings the water" in "Walking in the Palace", which proved that the guqin music had been changed into the flute solo "Shui Long Yin" in the Tang Dynasty. In the fifteenth year of Hongwu (in 1382), Emperor Zhu Yuanzhang personally rebuilt "Enjoying Nine Plays of Banquet" in Yanle (General Banquet Music), including the song "Shui Long Yin" for welcoming meals. In the second year (1383), Lijiang Tusi Mude (Ajia Ade) went to Nanjing to see Zhu Yuanzhang, that is to say, Mude was treated in Nanjing Palace at the age of 72. At that time, I heard the music "Shui Long Yin" when I was eating in the palace, and the emperor personally gave Mu an imperial edict, and gave him a silver gold belt, a silver medal order, six gold ingots (the highest prize), and a full suit (see Records of Emperor Ming's Kindness, Biography of Ming History in Yunnan and Mu's Official Spectrum) The murals in Lijiang in the Ming Dynasty and all of the above show that the music of silk and bamboo of Jiangnan literati (including the music of Tang and Song Dynasties) which has been moralized in the Ming Dynasty began to spread to Lijiang. So, is the tune of Shui Long Yin the prototype of Tang and Song Dynasties? In 1942, Zhou Fan, a Naxi scholar in Lijiang (the word Shanfu, a member of the original Dongjing Society), added the same noun of Zhang Yan in the Southern Song Dynasty to "Shui Long Yin", a track in Lijiang Dongjing Music. It is a pioneering research work in the music history of Naxi nationality in Lijiang that according to its meter, mood, humor and mood, it seems that "one's own feet match one's own shoes". Is "Langtaosha" the music of the same name in the Tang Dynasty (Tang Lingqin's "Jiaofang Ji" has this song)? In the Tang Dynasty, Jiaofang Ji contains Qi Yan (seven words and four sentences)-style Langtaosha, nine by Liu Yuxi, six by Bai Juyi, two by Huangfu Song and one by Si Kongtu. Miscellaneous prose style (double "547, 74" style) was created in the late Tang Dynasty, Lv Dongbin (798? Years) and Li Houzhu Li Yu (937-978). "Langtaosha" in Lijiang Dongjing Music was studied by the author in 1985, when the words of the same name (547, 74, double film) of Li Houzhu Li Yu in the southern Tang Dynasty were filled in. In 1993, Dayan Ancient Music Concert was demonstrated in the performance in Beijing and at the academic seminar, and it was unanimously recognized as the musical prototype of "Langtaosha" in the late Tang Dynasty. According to experts' argument, the "Jing Qiang" and "Eight Diagrams" in Lijiang Dongjing Music were one of the two Taoist songs made and promulgated by Emperor Xuanzong of Tang Dynasty (741) in February of the 29th year of Tang Kaiyuan, and they were "Dancing in clothes and clothes".