Literature and history| the Book of Poetry as Music: Musical Notation and Singing

The great achievement of song and poetry since the Yellow Emperor in Zhou Ji has constructed a system of praise, elegance and wind song and poetry. Zhou inherited the sacrificial music of the Yellow Emperor, Zhao, Yao, Shun, Xia, and Shang, and produced the Zhou Song and most of the Daya, praising the merits of the zhou dynasties, the zhou wen kings, and the zhou wu kings as the foundation of the founding of the country. On the basis of inheriting Yao and Shun Yanle, Zhou produced "Xiao Ya" and part of "Daya". The ancient folk songs of the common people of various clans and the new folk songs of the remnants of the people in various parts of the Zhou Dynasty were collected into the wind. Zhou combined song and poetry with the ritual system, and practice with theory, and created a new music system. The "Book of Verses" is performed, the instrumental music begins, the vocal music follows, and the uniformity is uniform, and the sound is elegant. Vocal music and instrumental music are closely coordinated, mainly vocal songs, silk strings, blow pipes, there are four forms of gong song, sheng song, inter-song, and ensemble music. The System of the Book of Poetry includes music teaching, music music, musical instruments, music and dance. The performance of the Book of Verses is closely integrated with the ceremony, implying the teaching of kings and subjects, the teaching of fathers and sons, and the teachings of upper and lower levels. The wind reflects the true feelings of the people of all ethnic groups, and Zhou examines the will of the people and the basis of the achievements of officials. At the end of the Spring and Autumn period of the Eastern Zhou Dynasty, confucius was weak and the loss of songs and poems was serious, and Confucius sorted out the "Book of Poetry" and formed the musical score of the "Book of Poetry". The notation of the Book of Poetry should be a tortuous notation of sound. The Book of Poetry was exhibited on different ceremonial occasions, cultivating sentiments, educating customs, standardizing behavior, unifying thinking, winning the support of the common people, greatly consolidating the foundation of Zhou's rule and maintaining the long-term stability of the Zhou regime.

I. The integration of the Book of Poetry

The "Book of Poetry" absorbs the achievements of ancient songs and poems since the Yellow Emperor, and perfects the system of song and poetry of wind, elegance and praise, and all the songs recorded in the Book of Poetry are music songs, that is, lyrics that can be sung with music. Zhou wants to emphasize his own Taoist and musical system, and it is inevitable to grab materials from the music of the previous kings and establish a system of song and poetry and a system of liturgical music centered on the "Ode to Zhou". After the king and his courtiers of Zhou Fengxian were sacrificed, their songs, poems and rituals were preserved.

Ode is the core content of the Zhou Dynasty song and poetry system. At the beginning of the founding of King Wu of Zhou, the people's hearts were uneven and their foothold was unstable, and it was necessary to strengthen the foundation of rule with new ritual music. Although the cultural accumulation of Zhou at that time was not deep, Zhou also had to work hard to produce "Ode to Zhou", praising the merits of the previous kings of Zhou, King Wen of Zhou, and King Wu of Zhou as the foundation of the founding of the country. The indirect source of the "Ode to Zhou" is the music of the yellow emperor, the emperor, the emperor, the yao, the shun and other kings, especially the sacrificial music since the chu. King Wu of Zhou enfeoffed Yu Zhu, a descendant of the Yellow Emperor, and later collected Yellow Emperor Le from Zhudi. King Wu of Zhou conferred the descendants of Yu Yu (于邾), and later collected Yu Yu (顼顼樂) from Yidi. Zhou Wei is a descendant of Zhao and will naturally inherit Zhao Le. King Wu of Zhou was a descendant of Yu Zhu and Li, and later collected Yao Le from Zhu and Li. The direct source of the Zhou Song is the Xia Song and the Shang Song. Xia produced "Summer Song". At the beginning of the Zhou Dynasty, there should be words and genealogies of the "Xia Song", and the historical facts of Yu and Qi in the "History of Xia Benji" are derived from this. The "Wind and July" in the Book of Poetry preserves the remains of Xia Ge poems. The Eastern Zhou Dynasty collapsed, and the "Summer Song" and other Summer Song poems were lost in large quantities. The Book of Poetry and the Ode to the Shang Dynasty also retains some of the Shang Dynasty hymns.

Zhou's ya traces back to Yao and Shun Yanle. The change of wind and elegance originates from Xia's "Song of the Five Sons". There are a total of 31 articles in daya, and for pleasure, they praise the merits of King Wen of Zhou, King Wu of Zhou, and King Xuan of Zhou, and advise King Li of Zhou and King You of Zhou on their transgressions. "Xiao Ya" 80 articles, for Yan Le.

Zhou's wind is a song and poem for the common people or remnants of various clans since Yao and Shun. Wind originates from all ethnic groups and all localities, which is not only deeply rooted in the historical traditions of all ethnic groups, but also close to production and life. Yao's legacy is like "Tang Feng". Shun's legacy is like "Chen Feng". The wind is mostly a song of disciples, with a wide range of sources, sincere and touching, delicate and vivid. The wind sings in dialects, with rich rhythms, varied melodies, eclectic performance forms, and is a living music with great musicality. The late Zhou dynasty song is still rich and not affected by the liturgical music. It is difficult for the wind to compose music uniformly, so the folk songs collected by the wind in the Book of Poetry are very limited.

Zhou changed the practice of appointing music officials to make ceremonial music since the Yellow Emperor, collecting the songs of the common people, cooperating with the ceremonial system, cooperating with practice and theory, creating a new music system, manufacturing new musical instruments, and building a new "Book of Poetry" system, first there was a song music department, then a Ya music department, and finally the wind music department. The general score of the Zhou "Book of Poetry", including vocal and instrumental music scores, was performed on different ceremonial occasions, unifying thinking, standardizing behavior, educating customs, and cultivating sentiments, which won the support of the common people of all ethnic groups of the previous kings, greatly consolidated the foundation of Zhou's rule, and maintained the long-term stability of the Zhou regime.

2. The performance of the Book of Verses

The Book of Poetry combines poetry with song, music and dance, and vocal music and instrumental music are closely coordinated. The performance is mainly based on vocal songs, silk strings and blow pipes, and there are four forms: gong songs, sheng songs, inter-songs, and ensembles. The song and poetry alternate with the instrumental music, and the instrumental music is used as an interlude between the two song poems.

The performance system of the Book of Poetry is large and comprehensive, with four branches: one is the genus of music teaching, including the great sile, the musician, the great xu, the small xu, etc.; the second is the genus of music and music, including the master, the small master, the eye, the eye, the stalk, etc.; the third is the genus of musical instruments, including the diantong, the leper, the shengshi, the master, the brace master, the seal, etc.; the fourth is the genus of music and dance, including the yun clan, the dian yong instrument, the si gan, etc. Among them, the applause songs are: 瞽蒙, palm broadcasting 鼗, 柷, 敔, 埙, 箫, pipe, strings, songs, satirical poems; 鞮鞮氏, palm Siyi music and its vocal songs.

The performance of the Book of Verses is a theory of sound form. The sound should be given a certain form, with a degree of frustration, a plate and an eye, a clear explanation, and a sound and tone. Sound, though invisible, can be imagined to be shaped by things. "Li Ji Music Record": "The singer, the upper as a resistance, the lower as a fall, the curve like a fold, the stop like a mallet, the middle of the moment, the middle of the sentence hook, the tired end like a pearl." "Up as resistant: the object is on the top, the sound line is thrown upwards; down is like falling: the object is in the bottom, the sound line is thrown downwards; the curve is like folding: the object is on the left and right, before and after, and the sound line is then graceful; stops like a mallet: the object suddenly stops moving forward, the voice line condenses, and the sound must have a pause; the middle moment: the sound is high and low, left and right, and the speed and slowness are all within the eye of the board, which is said to be measured; the middle hook: the sound flows with the rhyme, the luck cavity is complete, and it is certainly powerful; the tired end is like a bead: the words, words, and sentences echo back and forth, and they are integrated, such as the line running through the beads, without dispersion, without any chaos.

The "Book of Poetry" performs the theory of emotion, and the singing should be combined with emotion, love and qi, and singing. "Etiquette and Music": "Therefore, the song is also a word, and a long word is also." Say what you say, therefore speak, say what you say, so you say it long; if you don't say enough, you sigh; you don't know the dance of your hands, and you don't know what your feet do. "Say: the singer feels and sends out, not empty words; in words: the singer's spokesman states merit or issues precepts; long words: extends the voice to express emphasis and highlights the main points; sighs: the suppressed emotions in the voice, showing reverence or advice; the dance of the hand: borrowing the rhythm of the upper limbs to indicate the up and down, inside and outside, front and back, left and right, far and near of the space; the foot: borrowing the rhythm of the lower limbs to express the weight and urgency of the rhythm. Speaking, saying, and long, the "Book of Music" is called "straight to oneself and Chen De"; the dance of the hand, the foot is followed, and the "Book of Music" is said to be "moving oneself and the heavens and the earth should be".

3. The musical score of the Book of Poetry

The Notation method of the Book of Poetry of the Zhou Dynasty should be a tortuous notation of sound. The lexical spectrum is drawn according to sound and rhyme. The Hanshu Yiwenzhi includes: 7 poems of Henan Zhouge, 7 of which are zigzags of Poems of Zhouge of Henan, 75 of which are poems of Zhou Song and Poetry, and 75 of which are zigzagging of Zhou Song poems. The bibliography corresponds in pairs, the former is a word and the latter is a spectrum. Unfortunately, the musical score of the Book of Poetry of the Zhou Dynasty has long been lost. By the end of the Eastern Han Dynasty, only 4 pieces of the "Book of Poetry" musical scores remained, namely "Lu Ming", "Yi Yu", "Va Tan", and "King Wen". During the reign of Emperor Ming of Wei, only one piece of lu ming remained in the musical score of the Book of Poetry. By the time of the Jin Dynasty, the ancient musical scores of the Book of Poetry were lost. During the Tang Kaiyuan period, he re-compiled the 12 scores of the Book of Poetry, one word and one beat and one tone, according to the soundtrack of Zhong Ling and other music, and carried out simultaneously with the ceremony of the ceremony. Song Xiongpenglai's "Spectrum of Poetry" includes 12 pieces of Zhao Yansu's "Kaiyuan Poetry Spectrum" and 17 more in the "New Spectrum of Poetry". The "Poetry Atlas" compiled by Ming Lu And others is a self-composed song and contains 81 pieces. Ming Zhu Zaiyu's "Rural Drinking Poetry Musical Score" is included in 15 articles. The Ni copied "Wei's Musical Score" collected 22 pieces of the "Book of Poetry". The Qing Dynasty "King Ding Poetry Classic Musical Score" has a total of 305 original poems, and added 6 imperial "Supplementary Poems" and 310 articles. The 1555 scores of flutes, flutes, bells, qins, and sevans are the most comprehensive musical scores of the Book of Poetry in ancient times.