The Relationship between Ancient Poetry and Music from the Six Meanings of the Book of Psalms

<The Book of Songs> is used for singing with music. From the six meanings of <The Book of Poetry), we can see that ancient poetry and music are closely indistinguishable. Wind, elegance, ode, fugue, than, rise is the specific expression of music. Music is passed on, developed and evolved with the help of poetry.

The six meanings of poetry arise from labor, and used in music is closely inseparable. In ancient times, primitive society period, people ~ side labor, while singing, which produced poetry. From & lt; Poetry & gt; this oral recitation of the earliest works can be seen, 'Poetry & gt; six yi wind, ya, ode is local music. It is the lyrics of music. Performance of the content of the music; fugue, than, Xing is the form of musical expression, reproducing the performance techniques of music. Visible 'Shijing) and music is also inseparable.

I, 'poetry> in the wind, elegance, ode and the relationship between music < poetry> in the wind, elegance, ode is "three". That is to say, the Book of Songs is divided into three categories. Wind is the local music of different regions. Can be divided into zhounan, zhaonan, name, gallery, wei, wang, zheng, qi, wei, tang, qin, chen, hui, cao, bin and other 15 areas to collect up to 160 pieces of soil wind ballads. Ya． It was the music of the areas under the direct jurisdiction of the Zhou Dynasty. It was the specialized lyrics used in the official court or court meetings, and most of them were composed by the nobles, except for a few folk songs. Ode. Dance and song lyrics used in court or noble temple rituals. Most of them are about singing praises to virtue. In terms of content. Wind, elegance, ode and music are closely linked can be imagined. On the other hand, from the point of view of word form, wind, elegance and ode are also connected with music. Hanslick says. The ancients chose certain modes for certain purposes. Strictly distinguish these modes... Not to be confused with the Dorian modes are for solemn purposes, especially for religious ones." The tonal poetry he refers to here is a choice of instruments and musical forms for the sake of expression. to suit the requirements of the content. So that the music delivered by the poem and the expression of emotion to achieve unity and harmony. And & lt; poetry & gt; in the wind, elegant, ode are different music mode. And this kind of tuning is due to the poem itself to convey out of the emotion is not the same due. Put in. Wind" in the musical mode. If put into the "ode" to play. Will be regardless of the different types, neither wind. And non-song. & lt; Poetry & gt; in the fifteen national wind. Is the music of fifteen different places, that is, local folk songs. Zhu Xi said. The wind is heard in the lane wind and soil. Men and women love words." That is to say that most of the wind is a part of the alley song work. And fifteen national wind itself is named from the region. And the musical instruments vary from place to place. For example, the typical instrument of Yu music is the drum. The instruments of Zhounan are mainly flute-like. It can be seen that the tunes of the fifteen national winds are also different. It is also diverse. All from the different lives of the people. But on the whole. The tunes expressed by the winds are mainly cheerful, lively and bright. Even the sad lyrics are also clear at a glance. Such as & lt; reed reed & gt; in the "backward migration from the road is long. Trace the swim from the. Just like in the center of the water." The melancholy and bleak feelings of a diarrhea. Most of the large and small elegant poems in <Poetry > are political poems, and are the music of the capital city. <Poetry big preface> in the "elegant, positive also, said the king's government by the abolition of the rise also" statement. It is the elegant poetry in the content of the overall overview. Ya has the meaning of positive, that is to say. Ya poetry in the <Poetry> is the right tone, is the paradigm of music. For example, (Shijing - Xiao Ya - Deer Song' "Yo Yo Deer Song. Eating wild apples. I have guests, drummer blowing sheng," said the solemnity of this banquet poem. It was sung by the ancient kings when they invited their ministers to feast, and later it was gradually extended to the people. It can also be sung at the banquets of the villagers. At the end of the Eastern Han Dynasty, Cao Cao wrote <Short Songs). He also quoted the first four lines of the first chapter of the poem, expressing the desire to seek talent. It shows that more than a thousand years later this poem still has some influence. Therefore. The "elegant" poems were generally about the affairs of the aristocracy or the ruling class, and their forms were neat and uniform. Unlike the "wind" poems, which have strong local characteristics, the "elegance" poems generally express the important events of the aristocracy or the ruling class, and their forms are neat and uniform. The <Ode> in the <Book of Songs> is a song and dance song used by the ancient emperors and nobles to worship the temple. There is a "performance of sound and appearance", which also shows that the ode and music are closely linked, inseparable components. Confucius said ode poetry. With music and peace and late", that is to say, the ode has a soothing appearance. Generally speaking, since the ode is used for rituals, its tune must be heavy and solemn. Thus, it expresses people's infinite reverence for their ancestors and gods. The modern literary historian Chen Zizhan wrote in his "Straightforward Explanation of the Classic of Poetry>" that "'Ode' is a song and dance for rituals". This shows that 'ode' and music are closely related and inseparable. It is not only a display of the sacrificial scene. Is also a form of music and dance. Such as & lt; Zhou Ode - Qing Temple of the Sh):. In Mu Qing Temple, Suyong Xianxiang. Jiji Doshi. By the virtue of the text. To the more in the sky. Jun run away in the temple. Do not show not to undertake, no shot to the people." Showing a serious and grand sacrificial scene. The music is also grave and solemn. It expresses the infinite admiration for the first rent and the incomparable reverence for the gods. Moreover, these 'ode> poems are all dialogues between earthly mortals and heavenly deities and ancestors. Therefore, the attitude is submissive. Behavior is solemn. So as to get the gods and ancestors of the blessing and blessing. In short, & lt; Poetry & gt; in the wind, elegance, praise is the content of ancient music and the reproduction of the form of expression. And music is inseparable.

Second, <Poetry> in the expression and music is associated. <Poetry>s surface techniques are varied, in general there are three kinds of fugue, than, Xing is its basic expression. Fugue. That is, the statement of the narrative, repeatedly talking about what is in the heart. Such as & lt; Poetry - rogue) directly to write. The Chi Chi rogue. Hold cloth trade silk" when the scene. This is the fugue. Than. Is to play the analogy. Such as & lt; Poetry - Shuo rat & gt; is to use the "Shuo rat Shuo rat, no food I corn". Through the metaphor. The rat is compared to the aristocracy at that time. This is the technique than. Xing, that is, it is the first thing to say it to cause the chorus of the thing. Such as & lt; poetry - reed reed & gt; in each section are. Reed reed is pale. By reed reed lead to write to the main 2012.3 the second half of the month, qu generation branch insults 227. aesthetic theory. Film and television reviews and other... Feng Yi shot Ya E and other people Weng on the "Iren in the water side" of the constant search. Thus forming a three-part song. This kind of transition from the other thing to write the other thing is the rise. In <Poetry>, than, rising techniques applied to the most, sometimes visible, sometimes in no particular order, and sometimes alternately, and each technique is consistent with the expression of music, that is to say, it is a form of expression of music. The first <Guan Ju>Cheap of the <Book of Songs is the most typical representative. Poetry first with the rise and than the technique, "Guan Ju, in the river of the continent." With osprey birds in the river mutual whining and singing. This leads to the writing of the feelings of love between lovers on earth, "My fair lady, gentleman's good martial arts", the beautiful and virtuous woman is the young man who misses the person. This technique of rising and comparing is essentially a musical technique. This can be supported by many modern folk songs, such as the northern Shaanxi folk song. Shandandandan blossomed back puddle red, Thi's brother became a Red Army" is the technique of ratio. Poetry and music often use than, rise to the performance of the techniques, which is just poetry and music expressed by the objectification of emotion, objectification. Poetry and music are generally difficult to begin with. To express subjective feelings directly, so that the listener and the reading audience is infected. It is necessary to look for a thing that can produce *** agreeable situation to express it. This is exactly the role of than, rise. Whether it<s the Book of Songs) or modern folk songs. In the beginning often with some of the subject seems to be unrelated to the surface of things to state. Then the transition to the main body, such than, the application of Xing let the listener at a glance. Produce **** Ming. Music with than Xing as emotional thinking figurative to choose things, refine the form and content consistent with the artistic image, let a person touch the scene. The beginning of <Poetry - There are foxes>. Fox Sui Sui, in his Qi-liang" is the use of the technique of comparison, and then transitioned to "the heart is worried. I am worried about my husband's lack of clothes", a woman worried about her husband's lack of clothes. Natural and skillful. Appropriate and appropriate. And several paragraphs of the poem use "there are foxes, in his Qi to start, sentence variety, rhythm, making the poem catchy. Pleasant to the ear, but also makes the content of the heart, Shun Tong's feelings, revealed and expressed at multiple levels, short chapters into a long song of continuity, showing a richer and more complete emotional content. Third, the relationship between ancient poetry and music singing music poetry art, there are such as the ancient music sound poetry: <Stranger in the Mulberry>, <Meeting line>, <Yan song line>, <White Heads>, <Double white swan> and later, 'Bamboo branch lyrics', <Cai Lien Qu>, 'White Song>, <Treading Song Lyrics>, <Stepping Hollow Song>. Even the big song, qin song, ballad song and so on. It mostly belongs to five, seven words Qi speech. Sometimes also add some harmony, help, lining words. The words of the Tang and Song dynasties also belong to the music culture. It is the long and short sentence miscellaneous words body song rhetoric and Yan music miscellaneous words body song music chapter and sentence structure corresponding to the art of break singing. In the music is customarily called. Qu pai": from a literary point of view, its word pattern is also known as. The word plate" or. The word score". The loose song is a kind of song emerging in the Jin and Yuan Dynasties. It is a kind of popular literature that was appreciated by the people and the literati at that time. In the history of Yuan dynasty literature. The loose white took. Word" status. Became the most active and vitality of the poem. Since the Yuan Dynasty. There are many literary critics who believe that loose songs and miscellaneous songs - 228 Hired generation support insults / 2012.3 the second half of the month that the so-called. Yuanqu" - is the Yuan generation of the best art. That Yuanqu can be comparable to Tang poetry, Song lyrics, it is still very prosperous in the Ming Dynasty. At this time there are many monographs on the song, such as Wang Gide's & lt; song & gt;, Lu Tiancheng's & lt; song & gt; and so on. Of course, the development of poetry to Qi Liang years. Appeared in the poem, word development later appeared not into the music. Lyrics" of pure literary creation, they are not directly related to music. However, they were not directly related to music. They all have strict limitations in rhyme. Mr. Zhu Guangqian in <Poetry) said: "the influence of the Fu outside. Chinese poetry in the qi and liang era on the road of 'rhythm'. There is another important reason. It is that after the demise of the Lefu, the poem turned into a period of words but no tune. Before the word and the word were established, the music of the poem was seen in the key; after the word was separated from the key, the music of the word was to be seen in the words of the word itself. The purpose of tone is to see the music of the poem in the words themselves." The study of meter in the words themselves developed into phonetics with the ancients. Systematically analyzing how the musicality of words is expressed in poetry. In his book <A Study of the Art of Chinese Poetry, Yuan Xingjiu summarized the beauty of classical poetic language into three aspects: rhythm, intonation, and sound. Examples were given to obtain the musical beauty of the language by the methods of pause, charge, level and oblique, double rhymes and so on. That is to say. Poetry directly related to music has musicality, at the same time. Poetry not directly related to the music of the ancients also strive to achieve the beauty of music through text skills. Fourth, the concluding remarks & lt; Poetry Classic) can be handed down to today, but also get the society widely valued and learned, which has an endless musical flavor with itself, and superb performance methods are inseparable. Its categories of wind, elegance and ode are the lyrics of ancient music. Its expressive techniques, Bi and Xing, have been widely inherited in the creation of music. Today's modern music still adopts these expression techniques. Let the emotion to be expressed more freely. It can be seen that & lt; poetry & gt; and music are closely related. Poetry inherited the essence of & lt; poetry & gt; is also along the way to the development of poetry since the beginning of the inextricable link with the music.