Interpret the significance of ancient poetry and songs to the inheritance of traditional culture

The mainland has had a tradition of sound and poetry unification since ancient times, and from the perspective of artistic origins, poetry, music and dance are three-in-one, at least in the pre-Qin period. The "Book of Poetry" and The Chu Ci are all lyrics that can be sung. Mozi Gongmeng Yun: "Three hundred poems, three hundred string poems, three hundred song poems, and three hundred dance poems." It shows that the Book of Poetry has the musical nature of being recitable, playable, singable, and dancable.

"History of Confucius's Family": "Three hundred and five pieces, Confucius is all strings and songs." It can also be seen that all works in the Book of Poetry can be sung with music, and Confucius's compilation of the Book of Poetry includes the arrangement of music. Therefore, Zhu Xi said: "Poetry, the music of the ancients, is also the song of today." "The Chu Ci "Nine Songs" is generally considered to be based on the Wu Song of Chu Di, and the "Ser Score" of Xiong Penglai in the Yuan Dynasty believes that the "Nine Songs" is a Ser song. Zhu Xi's "Notes on the Collection of Chu Ci" notes the "Nine Chapters" "Advocating Yue" paragraph: "Advocate reading yue singing, also the syllables of the song, the so-called song sentences are also." "Prove that the Nine Chapters can also be sung. Later, it gradually evolved, and by the time of the Two Han Dynasties and the Wei and Jin Dynasties, lefu poems could still be sung, and even in the Tang Dynasty, there were musicians who could sing Han Wei Lefu. However, during this period, there were also "disciples' songs", "disciples' songs", that is, poems that could not be sung without a song.

In the Tang Dynasty, in addition to lefu, some of the near-body poems of five words or seven words could also be sung, called "sound poems". Some works by poets such as Wang Wei, Li Bai, Wang Changling, Bai Juyi, and Li He can be sung. The "General Record of Dan Lead" said: "The Tang people sing more Tang people's absolute sentences, and Wang Shaobo and Li Taibai are more. Du Zimei said nearly a hundred words, and the prostitutes in Jincheng sang a song "Gifting Flowers to Qing". It can be seen that Li Bai and Du Fu's absolute sentences are also music. The most famous is Wang Wei's poem "Send yuan er envoy anxi", as the song "Yangguan Three Stacks", which was widely sung in the Tang Dynasty. But most of the poems of the Tang Dynasty could no longer be sung. Song Dynasty poems cannot be sung, and in their place are words that can be sung. Words have appeared in the Tang Dynasty, called "quzi words". In the Yuan Dynasty, there were also songs that could be sung, namely sets and small orders. Songs composed for ancient Chinese poetry, traditional sound and poetry are integrated, which is a very important art form of national music.

If there is a song, there must be a song, and since the poem can be sung, there should be a musical score. But in general, poetry is easy to circulate because it is written, and singing is difficult to pass down as a fleeting sound. The music sheet that records these sounds is the musical score. The Book of Poetry, chu ci, and the six dynasties of the Han and Wei dynasties should all have musical scores, but unfortunately they have not been handed down. The earliest musical scores we can see now are the Tang Dynasty pipa score found in the Dunhuang Tibetan Scripture Cave and the Tang Five-stringed Pipa Score now in the Former Konoe Family collection of the Yangming Library in Japan, but both have no poems.

The Southern Song Dynasty Zhu Xi's "Interpretation of the Rites and Rites" includes the "Twelve Poems of Fengya" of the Southern Song Dynasty Qiandao Zhao Yansu, which is a song that accompanies the "Book of Poetry". If it is indeed the poetry score handed down by "Tang Kaiyuan", it should be the earliest poetry score that has been handed down, that is, the earliest poetry and song, and the Song Song Collection "Songs of baishi Daoists" handed down by the Southern Song Dynasty lyricist Jiang Kui should be the earliest word score with word works that we have seen, which is a typical ancient poetry song. There are more musical scores in the Ming and Qing dynasties, and the "Taikoo Shenpin" and "Xiawai Shenpin" written in Ming Hongxi's "Magical Secret Notation" are mostly ancient scores before the Ming Dynasty. At the end of the Ming Dynasty, Wei Hao brought to Japan the "Wei's Musical Score", the "Qu Score Dacheng" written in the Kangxi and Qianlong Dynasties in the Qing Dynasty, and the "New Dingjiu Gong Dacheng North and South Word Palace Notation" published by Qianlongjian, etc., most of which have songs and poems, and are the origins of ancient poetry and songs on the mainland.

Since entering the modern era, the research of ancient poetry and songs has focused on the collation and translation of musical scores, the study of the singing of poetry and songs, and the practical exploration of teaching and dissemination, although it is not late, but it is not enough to pay attention to it, and the impact is relatively small. It is mainly manifested in three aspects: First, the lack of high-level research by scholars of the older generation such as Yang Yinliu, Fu Xueyi, Liu Chongde, etc., among the many music research projects and achievements, there are fewer ancient poetry and songs; second, in music education, the teaching of ancient poetry and songs is still very weak, the curriculum setting has not seen entering the main curriculum, and the teaching materials are extremely rare: Third, there is a shortage of research and teaching talents for ancient poetry and songs. Therefore, the teaching and dissemination of ancient Chinese poetry and songs should arouse great attention from the educational and cultural circles.

Disseminating ancient Chinese poetry and songs is one of the important ways for music education to carry forward the excellent traditional culture of the Chinese nation. Ancient poetry songs are poems sung with soundtracks, condensing the thoughts and emotions of the ancient Chinese. Some of these lyrics express the feelings of the ancient scholars: for example, Li Bai's "Guan Shanyue" collected in the "Wei's Musical Score" paid attention to the painful concern brought to the people by the Tang Dynasty's Border Plug War, and Wang Wei's "Longtou Yin" sympathy for the Shubian soldiers; some reflected the beautiful family, love, and friendship of the ancient people: for example, the "Wei's Music Score" received Wang Wei's "Yangguan Qu" expressed the emotion of both longing for friends to make meritorious contributions to the border plug and not to bear to leave.

Li Qingzhao's famous "Remembrance of blowing flutes on the Phoenix Stage" collected in the "Nine Palaces Dacheng North and South Word Palace Genealogy" writes about his wife's deep longing for her husband; some sing the great rivers and mountains of the motherland: such as Bai Juyi's "Remembering Jiangnan" collected in the "Broken Gold Dictionary", vivid descriptions and beautiful memories of the beautiful scenery of Jiangnan. The term "Guizhixiang" by Wang Anshi depicts the magnificent scenery of Jinling in late autumn, expresses the nostalgia of the rise and fall of ancient and modern times, and deeply expresses the feelings of worrying about the country in the scene. Ancient poetry and songs can enable the educated to specifically feel and grasp the characteristics and essence of national culture, enhance their love and confidence in excellent traditional culture, and enhance their consciousness of carrying forward China's excellent traditional culture. Therefore, the dissemination of ancient Chinese poetry and songs through education is of great practical significance for in-depth exploration of the unique value of ancient poetry and songs in carrying forward excellent traditional culture.

Carry forward the excellent traditional culture of the Chinese nation, and ancient music is of course also among them. In the teaching system of the Mainland Contemporary Conservatory of Music, the education of Chinese modern and contemporary vocal works and the education of Western vocal works are the main body of the curriculum content system, and students are involved in nature more extensively; the education of ancient Chinese musical works is relatively weak, the education of ancient Chinese poetry and songs is even less, and the singing of ancient Chinese poetry and songs is even blank in vocal teaching. The fact that ancient Chinese vocal works have been handed down and can be sung is an objective reason, but it is not taken seriously as the main reason. However, such teaching content design cannot effectively cultivate musical talents who disseminate traditional Chinese culture, and obviously cannot adapt to the requirements of promoting traditional culture in the new era.

At present, ancient musical works on the mainland are mainly preserved in musical scores. To understand and learn ancient Chinese music, it must begin with familiarity with ancient musical scores. Ancient Chinese music scores have the habit of carrying songs and lyrics (poetry songs), so learning ancient poetry and songs is an important way to learn ancient music. Of course, since the Tang and Song dynasties, the notation methods used in different periods are also different, and there are complex notation methods such as text notation, subtraction notation, common character notation, law and lu score, and ruler (car) notation. However, in compiling musical scores throughout the ages, there is a habit of translating the scores of previous generations using the notation method of this era. Southern Song Dynasty Jiang Baishi deciphered the Tang Dynasty famous song "Neon Song" score, the original score of a total of 18 paragraphs, in order to facilitate the singing of the times, he selected two pieces of music score to translate into the popular folk character score at that time, and with his own lyrics, named "Neon Clothing In the Order of the First", included in his "Baishi Daoist Song". When Xiong Penglai's "Twelve Poetic Notations of Fengya" at the end of the Song Dynasty and the beginning of the Yuan Dynasty was included in his "Ser Spectrum", he also translated 12 original laws and Lü Notations into the gongzhi notation that was common at that time.

In the last century, the study of ancient musical notation reached a climax. Scholars such as Tang Lan, Xia Chengtao, Yang Yinliu, Yin Faru, and Qiu Qiongsun all published research and examination articles on the side scores of the "Baishi Daoist Song Collection", pushing the study of Song Dynasty folk character notations to a more mature situation. At the same time, the Ming and Qing dynasties also began to be translated into modern music scores, such as Fu Xueyi's "Selected Translations of the Nine Palaces Dacheng North and South Word Palace Scores", Liu Chongde's "New Ding Jiu Gong Dafen Cheng Nanbei And North Word Palace Score Proofreading Translation", "Ancient Chinese Music Score Compendium", etc., these translation and collation work, so that the ancient music tradition can be preserved, providing convenience for us to learn ancient poetry and songs. Scholars such as Yang Yinliu and Fu Xueyi not only sorted out and translated ancient musical scores, but also tried to compose music for ancient poetry themselves. Although it is a modern song, because they themselves are famous experts in the history of ancient Chinese music and have in-depth study of ancient music scores, their compositions have won the charm of ancient music traditions and have become famous songs of ancient poetry and songs.

Ancient Chinese poetry and songs have their own national characteristics that are different from Western art songs. Most of the ancient Chinese poems are lyric poems, showing the artistic conception of blending scenes. The ancients arranged the poems, mostly referring to the content of the poems; and in order to play the initiative of the singers, the melodies of the scores were relatively simple. Singing such a work, the most important thing is to sing the emotion and the singing environment. That is, to mobilize a variety of artistic means to fully express the emotional connotation and artistic conception expressed in the lyrics. As Fu Xueyi said, "it is necessary to grasp the various characteristics of the traditional national singing method, and more importantly, according to the content of the lyrics and the words, to truly mobilize their feelings", "or arrange the length of the notes according to the meaning of the lyrics", or "to appropriately polish the cavity", "from the aspects of sound, melody, rhythm, and breath, to achieve continuous coordination, the emotional connotation of the lyrics and melody penetrates into the sound, and achieves the unified and complete effect of the vocal form, which is the singing with color and rhyme." Another important feature of ancient poetry and songs is that the language itself has musical beauty. Ancient Chinese poetry pays attention to flatness and rhyme, and itself becomes an integral part of singing with its sense of rhythm and rhythmic beauty. Therefore, when singing ancient Chinese poetry and songs, it is not only necessary to sing the voice, but also to sing the lyrics, that is, to fully consider the language characteristics of the flat voice, the short one, and the short voice. In this way, the rhythm and rhythmic beauty of the Chinese language can be expressed.

Learning ancient poetry and songs is an important way to understand and grasp the characteristics of ancient Chinese music. Incorporating the teaching of ancient Chinese poetry and songs into the contemporary vocal education system is not only necessary, but also a top priority.

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