Present situation of historical research on music historical materials

Since the 20th century, some concepts in European and American music history have changed, and the research on the style of works has gradually turned to "music activities" as a whole. However, the study of music history is a discipline of musicology and history. Therefore, if the history of music is limited to the level of "history", then the narrative of music history is based on historical materials (documents and archaeological materials). Historical facts are based on the collection, criticism, analysis and synthesis of historical materials. In this process, it is undoubtedly diverse to grasp the historical flow of music themes and styles in different times and regions, and to understand and analyze the flowing state of music in different historical periods from different macro and micro levels. This understanding can be based on the theme and style of music, and can also peep at the essence of music from the aspects of aesthetic consciousness and social phenomena, and reveal historical and cultural phenomena.

In addition to general history, music history works also include dynastic history, music genre history, music genre history and so on. China and others have written historical works. There are also different views on the division of historical times. There are also different styles, and the types and styles are very diverse. Here are some examples of world music history and national music history.

If we focus on the general history of world music, the Musical Instrument History written by Kurt Sachs (new york, 188 1- 1959) is worth mentioning. He divided the history of world musical instruments into the first general history of world music written with musical instruments as the main clue. Followed by German scholar W Viola (1907-)1961,Die Vier Welt Walter Wiora Musik (Stuttgart) is also a monograph on the history of world music, which integrates the musical phenomena of the East and the West and narrates them in parallel across planes.

During this period, the system and research methods of world music history as a general history are still in the exploratory stage, so how to write the history of world music is a very important topic. In my opinion, before focusing on the writing of world music history, we should first scientifically improve the discipline system of oriental music history. 1930 The History of Oriental Music written by Ueda, 1948 Musical Instruments and Their History written by Cheng Xiong Shore is his attempt. However, there are still some problems in the system of world history and oriental (Asian) history (in fact, the same problem exists in European music history). The national cultural integration here is much more complicated in the East than in Europe, and it is difficult to form a system as a cultural circle. Whether it is the music history of the East or other western regions, it is difficult to describe the complete music history of all ethnic groups and countries from ancient times to modern times. In the attempt of World Music History, there is Ambrus's Geschichte der Music (five volumes, the first three of which were written by him in the second half of19th century). Like the music history of F.J.Fetis's Biography of Musicians and Music General Records (1835- 1844), oriental music and ancient European music are discussed in parallel with horizontal historical clues. C. Saxophone's History of Musical Instruments and His The Rise of Ancient World Music: East and West, new york, 1943 have obscure views on the times. The History of Oriental Music written by Shangxiong Tanabe is divided into five chapters: the spread of music in Central Asia, the eastward spread of music in West Asia, the influence of the rise of Islam and Mongolia, the establishment of national music, the invasion of European music and the globalization of oriental music. Kishi Nobusuke's Oriental Musical Instruments and Their History also discusses the history of oriental music in four periods: the inherent music era in early ancient times, the international music era in late ancient times, the national music era in the middle ages and the modern world music era. The above-mentioned works about Tanabe and Shore all describe Asia as a whole, but they are different in time division and some historical views, but there are few general histories like this outside Japan. W Viola's four periods in the history of world music are divided into four periods: prehistoric and ancient times, oriental music in ancient high civilization, the special position of western music, and the industrial culture era in the technological world. In this part of the East, it is not clear how to divide ancient, medieval and modern times, and there is obviously a lack of historical materials.

When describing the history of world music, it is more important to evaluate the historical development. For example, Peking Opera in China, Kung Fu in Japan, Lager in India and Gamelan in Indonesia. What position should these music schools and styles occupy in the history of world music? How to avoid subjective consciousness and establish a view of music history is a difficult problem to compare and evaluate. Just showing a detailed chronology can't be the research result of history. It is very necessary to establish the development characteristics of each period of music history with objective historical facts and comprehensive horizontal analogy evaluation. The historical evaluation of music, genre style history and social history cannot be described separately, because music was produced in a specific historical period and environmental culture.

The general history of regional and national music is classified and narrated according to ethnic, regional and historical chronology and genre respectively. In addition to the history of western music, China, Japan and South Korea have also made great achievements in the general history of national history. In Japan, at the end of the Edo period (1603- 1867), there was a general account of the music of the Edo period, especially focusing on specific kinds of songs and pure glass (a kind of rap music)-the usurpation of the genre of songs. ) (Saito Yuecen, 1847). This book is mainly composed of pure glaze, and collects the melodies, lyrics, biographies, tracks, chronologies and so on of performers in the Edo era. In this field, its information is detailed, thorough and authoritative. /kloc-in the second half of the 9th century, the earliest monograph on general history appeared in Japanese music history-A Brief History of Song and Dance Music (Note: A Brief History of Song and Dance Music was written by Konakamura Qing Moment in 1888, and the rock wave library was revised by Chang Yu 1928. ) (Volume I and Volume II) Although it is a chronological work, it is based on detailed information as a whole, and its historical authenticity is highly respected. It is the earliest monograph on the system of elegant music. The History of Japanese Music written by Shangxiong Tanabe 1932 and the History of Japanese Pop written by Ji Chuan Hideyoshi 1965 are masterpieces of Japanese general history. The History of Japanese Music by Shangxiong Tanabe is a work written from the perspective of cultural history, which absorbs the methodology of ethnology, but it is a bit outdated as a methodology of history. Ji Chuan Hideki's Japanese Popular History is a concise and faithful general history, which summarizes the research achievements in various fields, refines historical facts and completes it in chronological order. However, the book does not use music scores to explain musical phenomena and theoretical problems, leaving some regrets.

Most of the general history of modern music published in China appeared after the Republic of China, and all of them adopted chronological narrative method. On the whole, there are about 1929' s Music History of China, 1934' s Music History of China, 1935' s Music Literature History of Zhu and 1953' s Outline of China Music History. After 1980s, there appeared a large number of works on China's music history, especially the history of ancient music. Although there are many original works, there are so many similar music history works in one country, which is rare in other countries. With regard to China's music history, the essay "Music History of China" written by MauriceCourant, a French oriental musicologist, at 192 1 is included in the Encyclopedia of Music edited by A.J.A.Lavignac, which is more detailed and objective.

After World War II, the study of Korean music history developed rapidly. The Music History of China written by Li, Zhang Shixun and Cheng Qinglin in 1964 and the Introduction to Korean Music written by Li in 1967 are complete in style and thorough in historical research. The above-mentioned general history is a work formed by multi-field and multi-level research on the basis of historical data textual research, literature interpretation and music score analysis since the Li Dynasty. In recent years, apart from foreign countries, the study of Korean music history has also formed a powerful force in the study of European and American scholars, especially the study of China's court music flowing into Korea since the Tang and Song Dynasties (Note: See Gong Hongyu's Study of Korean and European and American Scholars on Ancient Korean China Music, China Musicology, No.3, 2002). )。

The general history of Southeast Asia and India has not yet fully formed a system. With regard to Vietnamese traditional music, Chen Wenxi completed his doctoral thesis "Vietnamese traditional music" in Paris University in 1962 (note: La Musique Viet Nam en Tradionelle, press universitaires de France108, Boulevard Saint-Germain-Paris, 1962). ) is a theoretical monograph on the history of Vietnamese music, traditional instrumental music, music rhythm, court music and ritual music. Music from Java and Bali can be found in mcphee's works. But these are all introductory works. As a general history, there is still a lack of combing and accumulation of literature and historical materials. The general history written by indigenous Indians includes the representative works of Prajna Paramita, Historical Development of Indian Music (1960) and Historical Research of Indian Music (1965). In addition, the History of Indian Music (1960) by P. Sambamoorthy is contemporary. These works have not really reached the level of in-depth and detailed research in terms of criticism of historical materials, textual research of facts, analysis and deduction of musical history phenomena, etc., and they are only a preliminary stage as a general history. Ancient Indian music has always been studied from a historical perspective, such as Rao Bandakar and ananda Coomaraswamy. They have done excellent research in different genres and styles, so it is conceivable that some excellent comprehensive history will be produced. But because Indians pay more attention to the expression of music, they don't pay much attention to the study of history. In the study of Indian music history, there are many people in Europe and America who pay attention to India, but there are few works as historical investigation. Ancient Musical Instruments (Paris, 194 1) was written by French scholar C Marcel-Dubois in 1 year.

The music history of West Asia is rarely written by local people, and has almost become the exclusive world of Europeans and Americans. The original historical materials of many theoretical books have been transported to Europe, which has become an important basis for European studies. From the Arabic Music in Leipzig written by R.G.Kiesewetter in 1842, many scholars began to make a historical investigation on Islamic music. The person who must be mentioned in studying the history of Arabic music is the British scholar H.G. Farmer. The History of Arabic Music to13rd Century is a General History of Arabic Music, which he completed in 1929. It is a monograph based on Arabic, Persian and Turkish documents. Time has been written until the end of Abbasid Dynasty (8th-/Kloc-0th/3rd century) in the Arab Empire. In the nearly half century since its publication, Time is the only authoritative monograph on the history of Arab music outside the Arab cultural circle. The following year, his book Historical Facts on the Influence of Arabic Music (1930, 1, 1970, 2nd edition) confirmed the factors that Arabic music influenced western music with detailed examples, and confirmed the historical facts that Arabic music entered Europe through Iberian Peninsula with a large number of historical materials. Then one of his books, The Origin of Arabic Music (revised versions 1 940 and 1965), is an explanatory collection of original historical materials related to the theory, performance and history of Arabic music in the 8th-17th century, which is an extremely important research manual for understanding early Arabic music. With regard to Arabic music, I would also like to mention the masterpiece La Musice Arabia (Paris, 1930- 1959, all six volumes) edited by R.D'Erlanger, which is a masterpiece in the past 30 years. The first half of the first and second volumes are the French translations of Al Farabbi's musical masterpieces, the third volume is the complete translation of "Writing Melody" by Safi Adeane, the fourth volume is the General Theory of Music dedicated to Muhammad Ⅱ during the Ottoman Empire, the fifth volume is the research on the theory and practice of modern Arabic classical music, involving scales, rotations and some documents, and the sixth volume is the rhythm organization and form of Arabic music. This book also contains many examples of staff. This book is an important work that systematically and comprehensively discusses the history of Arabic music.

Since the 1960s and 1970s, Germany and France have made some in-depth studies on Arabic music. For example, in 1970, the paper Arabic Music-Islamic Music, the first volume of Oriental Music, was written by Spuler. The study of Arabic music technology theory also includes O.Wright's Modal System of Arabic and Persian Music (1978) and so on. (Note: See Music Events, Ordinary Society, 1982, Volume IV, 65438+). )。 The study of oriental Islamic music was earlier written by Japanese scholar Tadashi Iida 1936, The View of Music of the Arabs in the Middle Ages (Note: The First Episode of Oriental Music Studies in Japan, 1936). )。 It is also worth mentioning that Kishi Nobusuke's Westward Flow of Music (Friends of Tokyo Music) was completed on 1952. Translated into Chinese on 1983, renamed Islamic Music (translated into English by Lang of Shanghai Literature and Art Publishing House). This is a booklet of about 80,000 words, but it is almost the only Chinese monograph that we know about Islamic music. This book briefly expounds the formation and development of Islamic music, discusses the relationship between Arabic music and Greek, Persian and Indian music by means of comparative musicology, and further expounds the influence of Islamic music on Europe and the East with examples. The summary of previous studies is also very objective and informative, and it is a very clear and understandable Islamic music monograph.