bone flute era from 6,7 to 7, years ago, our ancestors may have been able to burn clay pots and dig bone whistles. These primitive musical instruments undoubtedly tell people that people at that time had the aesthetic ability of music. According to ancient documents, ancient music culture has the characteristics of combining singing, dancing and music. The so-called "three people fuck the oxtail, and cast their feet with songs and eight strokes" in Ge Tianshi clan is the best explanation. At that time, the contents sung by people, such as "respecting nature", "striving for grain" and "the extreme of total animals", reflected the ancestors' understanding of agriculture, animal husbandry and the natural laws of heaven and earth. These primitive music dances, which are integrated with songs, dances and music, are also related to the totem worship of the primitive clan. For example, the clan of the Yellow Emperor once took the cloud as a totem, and his music and dance was called Cloud Gate. About the original song form, we can see the "Waiting for People Song" written by Tu Shanshi's daughter in Lv's Spring and Autumn Annals. The lyrics of this song are only "waiting for people", and only the word "waiting for people" has real meaning. This is the bud of music, and it is a pregnant language. The bone flute of Jiahu site in Wuyang County, Henan Province can be traced back to about 8 BC, and it is the oldest playing instrument in the world. One of the seven-hole bone flutes is very well preserved. Experts have conducted experiments and found that the bone flute can still be used to play music and can emit seven tones. But in ancient China, only pentatonic scale was basically used. < 2> Ancient Music China's ancient "poetry" is inseparable, that is, literature and music are closely related. The poems in The Book of Songs, the earliest existing collection of Chinese poems, were all accompanied by tunes and sung orally for the people. This tradition has continued, for example, the integration of official poems in the Han Dynasty is called "Han Yuefu", and Tang poetry and Song ci can also be sung at that time. Even today, there are pop musicians who compose music and sing for ancient poems, such as Su Shi's "Water Melody" describing the Mid-Autumn Festival and Li Bai's "Thinking about a Quiet Night". In ancient China, musicians were despised, unlike painters, because Chinese painting and calligraphy were closely linked, and painters belonged to the literati class, and they could even be "examiners by painting" in the Song Dynasty (in fact, it was also because of Song Huizong's extreme personal interest in painting). Musicians have a low status and are only "actors" for aristocratic entertainment. Li Guinian, a famous singer in the Tang Dynasty, also had no political status. Now people know him because he often appeared in Tang poetry and was praised. In ancient China, the "scholar-officials" class believed that a cultivated person should be proficient in "Qin, chess, calligraphy and painting", and the so-called "Qin" is the ancient Qin that has been passed down to this day. However, guqin is only enjoyed by literati alone and cannot be performed to the public. Guqin has a low volume and is the only instrument with a high status. Summary: China's ancient music theory developed slowly, and its position in the "official history" was not high, leaving no more written materials. But music, like literature, is a compulsory course for ancient intellectuals, which undoubtedly plays an important role in the daily life of ancient China people. Folk is full of colorful melodies. < 3> Music in Xia and Shang Dynasties The Xia and Shang Dynasties were a period of slavery society. According to the records of classical literature, music and dance at this time have gradually separated from the characteristics of primitive clan music and dance, and they are more occupied by slave owners. From the content, they gradually left the original totem worship and turned into an ode to those who conquered nature. For example, Xia Yu managed water and benefited the people, so there appeared the music and dance "Great Summer" praising Xia Yu. Xia Jie had no way, and Shang Tang cut it, so there was a music and dance "Da Mi" that praised Shang Tang's cutting Jie. Witchcraft prevailed in Shang dynasty, so witches and wizards who specialize in sacrifice appeared. They were raised by slave owners, danced and sang during sacrifices, and were the first people to take music as their profession. Slave owners sacrificed to the emperor and ancestors with music and dance, and at the same time indulged themselves with music and dance. After their death, they have to be martyred by musicians. On the one hand, this cruel martyrdom system exposes the cruel rule of slave owners, and objectively reflects the progress of productive forces compared with primitive times, thus enabling music culture to develop rapidly. According to historical records, in the Xia Dynasty, crocodiles were used to cover the drums. In Shang dynasty, there have been wooden cavity python drum, two birds gluttonous bronze drum and well-made stone pan born out of birch plough. Influenced by the Bronze Age, chimes and cymbals appeared in Shang Dynasty, and most of them were in groups of three. The appearance of various percussion instruments embodies the characteristics of the development of percussion instruments in the history of musical instruments. Tao Kui, a body-sounding musical instrument that began in more than 5, BC, has developed from a single-tone hole and a two-tone hole to a five-tone hole at that time, and it can emit twelve semitones. According to Tao Xun's pronunciation, the pentatonic scale, the basis of China's national music thinking, appeared in the late Neolithic Age, while the heptatonic scale appeared at least in the Shang and Yin Dynasties. < 4> Western Zhou Dynasty and Eastern Zhou Dynasty Music Western Zhou Dynasty and Eastern Zhou Dynasty were historical periods in which slavery society was from prosperity to decline and feudal social factors were growing day by day. During the Western Zhou Dynasty, the court first established a complete system of rites and music. Officials with different positions in banquets and entertainments are required to have different positions and dance teams. Summarizing the epic music and dances of previous dynasties, we can see the so-called "six generations of music and dances", that is, Cloud Gate in Huangdi's time, Xianchi in Yao's time, Shao in Shun's time, Daxia in Yu's time, Daxie in Shang's time and Dawu in Zhou's time. There was also a system of collecting folk songs in the Zhou Dynasty to observe customs and observe people's feelings. Relying on this, a large number of folk songs were preserved, and after being deleted by Confucius in the Spring and Autumn Period, China's first poetry collection-The Book of Songs was formed. It contains one * * * 35 poems about entering music for more than 5 years from the beginning of the Western Zhou Dynasty to the middle of the Spring and Autumn Period. The best part of The Book of Songs is "wind". They are the songs of the 15th National People's Congress, which spread around Henan Province, including several nearby provinces. In addition, there are several genres of "elegance" and "elegance" created by literati, as well as epic sacrificial songs "ode". According to the analysis of the characters handed down, the songs in The Book of Songs can be summarized into ten musical structures. As the climax at the end of the song, there has been a special name "Luan". Before and after the Book of Songs was written, Qu Yuan, a famous patriotic poet, compiled Nine Songs based on the sacrificial songs of Chu, which has strong Chu cultural characteristics. At this point, two works with different musical styles complement each other in North and South. During the Zhou Dynasty, folk music life involved more than ten aspects of social life and was very active. The story of Zhong Ziqi's bosom friend began at this time. This reflects the improvement of performance technology, composition technology and people's appreciation level. In the performance of guqin, the Qin people also summed up the psychological feeling of "only when you get it from your heart can you respond to the instrument". According to the records, Qin Qing, a famous singer, can "sound the trees and stop the flying clouds". Han E, a folk singer, sang, "I can't stop singing for three days.". These are all high achievements in vocal music technology. The highly developed musical culture of the Zhou Dynasty can also be marked by the ancient musical instruments unearthed in Suixian County, Hubei Province in 1978. This underground music treasure house, which can be compared with the Egyptian pyramids, provides the model of the court ceremony and music system at that time. There are eight kinds of 124 musical instruments unearthed here, and almost all kinds of musical instruments are available according to the "eight-tone" musical instrument classification of the Zhou Dynasty (gold, stone, silk, bamboo, jade, earth, leather and wood). Among them, the most important sixty-four chime instruments are arranged in three layers: upper, middle and lower, with a total weight of more than 5, kilograms and a total range of five octaves. Because this set of chimes has the characteristics that chimes in Shang and Zhou Dynasties sound twice in one bell, twelve semi-tones in the partial tone area are complete, which can be rotated in the palace, thus confirming the reliability of the records of the rotating palace in the pre-Qin literature. There are also inscriptions on the bells and pan instruments of the tomb of Zeng Houyi, which are about the theory of music law among the vassal States, reflecting the high achievements of music law in the Zhou Dynasty. In the Zhou Dynasty, the theory of twelve laws was established. The names of the five tones (Gong, Shang, Jiao, Zheng [zhi three tones] and Yu) have also been established. At this time, people already know that the fifth or seventh tone scale is dominated by Gong Yin, and the change of Gong Yin's position is called Xuan Gong, so that the effect of tone modulation can be achieved. Outstanding achievements in jurisprudence can be found in the "three-point profit and loss method" recorded in Guanzi-Diyuan. That is, based on the chord length of Gong Yin, increase by one third (benefit one) to get the pure fourth-degree sign below Gong Yin; Subtract one-third (loss one) from the chord length of the sign to get the pure fifth quotient above the sign; The chord length of each tone in the pentatonic scale can be obtained by further calculation. According to this method, the chord length of twelve semitones (twelve laws) in the whole octave is calculated, which constitutes the "three-point profit and loss law system". This kind of rhythm is formed by the natural fifth interval, and the tone generated each time is slightly higher than the fifth degree of the twelve-average rhythm. As a result, the high octave of the original rhythm can not be obtained after twelve times, resulting in the so-called "yellow bell can not be restored", which is inconvenient for the rotation of the palace. However, this legal system, which fully embodies the melody beauty of monosyllabic music, has continued to this day. < 5> Music in Qin and Han Dynasties "Yuefu" began to appear in Qin and Han Dynasties. It inherited the system of collecting folk songs in the Zhou Dynasty, collected, sorted out and changed folk music, and at the end of its performance, a large number of musicians played at banquets, suburban sacrifices and celebrations. These lyrics used for singing are called Yuefu poems. Yuefu, later extended to refer to all kinds of lyrics with or without music, and even some operas and Qiyue are called Yuefu. The main form of songs in Han Dynasty is Xianghe Song. From the initial cantata of "one person singing, three people harmony", it gradually developed into a "harmony Daqu" accompanied by silk and bamboo instruments, and it has a "gorgeous-tendency-chaos" musical structure, which has an important influence on the song and dance Daqu in Sui and Tang Dynasties. In the Han dynasty, drum music rose in the northwest frontier. It consists of different wind instruments and percussion instruments, such as cross-blowing, riding-blowing, yellow-door preaching and so on. They are played on horseback or on the move, and are used for military music etiquette, court banquets and folk entertainment. The folk percussion music that exists today should have the legacy advocated by the Han Dynasty. In the Han dynasty, there was also a "hundred operas", which was a program that combined singing and dancing, acrobatics and corner wrestling (sumo wrestling). The achievement of Han Dynasty's jurisprudence is that Jingfang divided the octave into sixty rhythms by the method of three-point profit and loss. Although this theory is meaningless in music practice, it embodies the subtlety of legal thinking. Theoretically, the effect of the fifty-three average law is achieved. < 6> In the Three Kingdoms, the Jin Dynasty, and the Southern and Northern Dynasties, Qing Shang Music, which developed from Xianghe Song, was valued by the Cao Wei regime in the north, and a Qing Shang Department was set up. The war at the turn of the Jin Dynasty made Qing Shang music flow into the south and merged with Wu Ge and Xiqu in the south. In the Northern Wei Dynasty, this kind of Qing Shang music, which was integrated with the North and the South, returned to the North, thus becoming an important kind of music spread throughout the country. Since the Han Dynasty, with the smooth flow of the Silk Road, songs from western countries have been introduced into the mainland. Lv Guang brought Qiuci (now Kuche, Xinjiang) music, which played an important role in Yan music in Sui and Tang Dynasties, to the mainland during the Northern Liang Dynasty. This shows that the communication between people of all ethnic groups in music was very popular at that time. At this time, guqin, the representative instrument of traditional music culture, tends to be mature, which is mainly manifested as follows: in the Han Dynasty, there has been a guqin monograph "Qin Cao" that explains the title of Qin music. Ji Kang, a famous pianist in the Three Kingdoms period, recorded in his book Qin Cao that "the emblem is the jade of Zhongshan". This shows that people at that time already knew the emergence of overtones on the emblem of guqin. At that time, a large number of literati musicians appeared one after another, such as Ji Kang and Ruan Ji, and a number of famous tracks such as Guangling San (Nie Zheng Stabbed the King of Qin), Yi Lan Cao, and Alcoholic came out. At the end of the Northern and Southern Dynasties, there was also a popular song and dance drama with story lines, roles and makeup performances, singing and dancing, as well as accompaniment and orchestral accompaniment. This is already a small embryonic opera. Important achievements in jurisprudence during this period include Xun Xie's discovery of the "orifice correction number" of wind instruments in Jin Dynasty. In the Southern Song Dynasty, He Chengtian created a new law which is very close to the law of twelve averages by the method of equal difference superposition. His efforts initially solved the problem that Huang Zhong, the law of three-point profit and loss, could not be restored. < 7> Music in the Sui and Tang Dynasties, the political power was unified, especially in the Tang Dynasty, which was characterized by political stability and economic prosperity. The rulers pursued an open policy and dared to absorb the outer-city culture. In addition, the integration of music cultures of all ethnic groups that had been gestated since the Wei and Jin Dynasties laid the foundation, and finally the peak of all-round development of music art with song and dance music as the main symbol was sprouted. The music enjoyed by the court in the Tang Dynasty is called "Yan Yue". Seven-step Music and Nine-part Music in Sui and Tang Dynasties belong to Yan Music. They are folk music of various ethnic groups and some foreign countries, mainly including Qingshang Music (Han nationality), Xiliang Music (now Gansu), Gaochang Music (now Turpan), Kucha Music (now Kuche), Kangguo Music (now samar Han in Russia), Anguo Music (now Bukhara in Russia), Tianzhu Music (now India) and Koryo Music (now Korea). Among them, Qiuci Music and Xiliang Music are more important. Yan music can also be divided into Zuobi and Libei. According to Bai Juyi's poem Libei, the performance level of Zuobi is higher than that of Libei. The popular song and dance Daqu in Tang Dynasty is a unique flower in Yan music. It inherits the tradition of Xianghe Daqu, integrates the essence of all ethnic groups' music in the nine pieces of music, and forms a structural form of scattered sequence-middle sequence or beat sequence-breaking or dancing all over. There are 46 titles of Tang Daqu recorded in Jiaofang Lu, among which "Dancing in Dress and Feather" is praised by the world because of its being written by the famous emperor musician Tang Xuanzong and its elegant French style. Bai Juyi, a famous poet, wrote a vivid poem "Dancing Song of Dress and Feather" describing the performance process of this Daqu. The prosperity of music culture in the Tang Dynasty is also manifested in a series of music education institutions, such as teaching workshops, pear gardens, big music departments, advocacy departments and pear gardens that specialize in teaching young children. With strict performance appraisal, these institutions have produced a batch of talented musicians. Tang poetry, which is a must in the history of literature, could be sung with joy at that time. At that time, geisha used to be quick to sing famous poems; Poets also measure their writing level by the popularity of their poems after they enter music. Pipa is one of the main musical instruments in the band of Tang Dynasty. It has almost the same shape as today's pipa. At present, Fujian Nanqu and Japanese Pipa still retain some characteristics of Tang Pipa in shape and playing method. Influenced by Qiuci's music theory, the music theory of eighty-four tones and twenty-eight tones of Yan music appeared in the Tang Dynasty. In the Tang Dynasty, Cao Rou also founded the Guqin notation of subtractive notation, which has been used until modern times.