Briefly describe the characteristics of music development in the Western Zhou Dynasty, the Spring and Autumn Period and the Warring States Period, and what achievements have been made in music culture

Briefly describe the characteristics of music development in the Western Zhou Dynasty, the Spring and Autumn Period and the Warring States Period, and what achievements have been made in music culture in this period? Spring and Autumn Period-Court Musicians

According to records, the ancient court music in China has always been famous for its grand scale and magnificent momentum. In the Spring and Autumn Period, the situation that the royal family monopolized the music culture was gone forever. Musicians from all countries adapted to the pleasure needs of the rulers of various vassal States and opened up a music world with a larger development and a wider scope than the previous generation.

Palace musicians in the Spring and Autumn Period generally have two characteristics; First of all, their names are called "Shi", such as Shi Juan, to show their social status at that time. Secondly, musicians are often blind, because blind people have a strong musical memory.

1. Shi Kuang is a famous musician in the Jin State of Shi Kuang (572-532 BC). He is good at depicting the soaring, chirping and graceful posture of flying cranes with piano music, and he can also express the shocking sounds of wind, rain and thunder in nature. His piano music is called "Shang Qing" and "Qing Dynasty". He has extraordinary musical talent and superb playing skills.

His hearing is much more sensitive than that of musicians who play bells in Jin State. He is a musician who emphasizes art and dares to give advice directly. He also plays the piano very well, and his skills are quite exquisite.

Allusion: "Ten Past Events in Historical Records" records that "Shi Kuang played the piano and drums once, and there were 28 episodes of Xuanhe on the porch door; Play it again, stretch your neck ring and relax your wings and dance. " Gong Ping was overjoyed, sat back and asked, "What is the saddest thing without this?" Shi Kuang said, "Yes. In the past, the Yellow Emperor made peace with ghosts and gods, but now your moral benevolence and righteousness are too thin to listen to. If you listen to it, you will lose. " Gong Ping didn't believe it, so he wanted to hear it. Shi Kuang had to play it. He shot, and the white clouds started from the northwest; Second, the wind caused the rain to follow, flying over the eaves and running from here to there. Gong Ping was scared and curled up in the corridor. There was a drought in Jin, and it was bare for three years. "

2. Wei musician Shi Juan (534-492 BC) is also famous for being good at playing the piano and collecting and playing folk music. Historical Records of Le Shu's Biography records the story of Shi Juan's follow-up to Jin: "The generals were promoted to Jin, and the drums and pianos were heard at midnight, saying,' I have never heard of them'. He was asked to write it for me. " Gong Ping asked Shi Juan to sit next to Shi Kuang and help him play the piano and drums ... "At the end of the song, Shi Kuang held down the piano and refused to play again, saying it was the sound of national subjugation, which was terrible. Why? It's called "decadent music" by musician Yan. This story shows the richness of folk music in the places where Wei and Shang nationalities lived, Shi Juan's musical understanding and extensive collection of folk music.

3. There was an outstanding master in Zheng State, who studied under him. The teacher praised his green pepper as inferior to Zou Yan's blowing method. According to Lu's Spring and Autumn Annals, after playing banjo for twenty-five years, I was so intoxicated that I fell in front of the banjo and murmured, "I am good for my children and I am not poor." This shows that Shi Wen has an extremely rich inner world of music. It is said that he failed to learn the piano for three years, and the teacher mistakenly thought that he was all thumbs and asked him to go home. Shi Wen made a philosophical comment. He said that what a song keeps is not in the string, and what it yearns for is not in the voice, so it should not be in the heart or outside the instrument, so he dare not move his hand chords. This is also the origin of the idiom "handy", which has become an important aesthetic principle in China ancient music performance.

The Spring and Autumn Period and the Warring States Period is an important period for the development of Chinese classical music. Due to the great opening-up of the ideological field, the music thought in this period presented a gorgeous scene, and the music theory was unprecedentedly active. In music aesthetics, Kong Qiu, Xun Qing and Gongsunni of Confucianism all emphasized utility and rationality. Taoism and Zhuang Zhou pay more attention to art and spirit. Their views had a far-reaching impact on the future development of China music. Contemporary research on musical thoughts in this period mainly focuses on the debate among Mohism, Taoism and Confucianism, and aesthetic thoughts are the focus of this debate.

Mohism advocates "non-happiness"

Mo Zhai, the founder of Mohism, believes that music not only wastes money, but also can't relieve the "three evils" of the people, that is, the hungry can't eat, the cold can't clothe, and the laborers can't rest. It can only make the country and the people do evil, so it should be banned. Mo Zhai thinks that music-"bells, drums, harps and gongs" can arouse people's beauty and make them happy. But its existence is harmful to the world. Listening to music will definitely affect the reader's energy and intelligence; After listening to the music, the "princes and grandfathers" should never "leave early and listen to the prison administration", and the result will inevitably be "national chaos and national danger". In Mo Zhai's view, the more advanced and developed music is, the more difficult it is to govern the country. "Those who enjoy music more than complexity will govern the minority". He believes that "music is not the reason to rule the world", that is to say. It has certain progressive significance, but after all, it is a pure utopia and completely unworkable. It is also unrealistic for him to simply emphasize politics and production, completely deny the social function of music and oppose the progress and development of music. So it didn't have a great impact on society. After Qin unified the six countries, this school disappeared.

Taoism advocates "loud but small"

Taoism, like Mohism, opposes and denies music. Taoism, represented by Laozi and Zhuangzi, advocates nature and denies all man-made music. Taoist music aesthetics is expounded in Laozi, a book with 81 chapters. There are only four articles on music, namely "harmony with sound", "being deaf with five tones" and "music and bait". It can be said that it is the core of Laozi's whole musical aesthetic thought, which directly influenced the formation of Zhuangzi and others' musical aesthetic thought and occupied an important position in the history of ancient musical aesthetics in China. Based on the Taoist philosophy in Laozi, we can find that Laozi divides music into two categories: one is Taoist music, that is, music that is inaction and natural; The other is secular music, that is, artificial and unnatural music. The music of Tao accords with the characteristics of Tao, which is the foundation of all artificial music, ubiquitous and all-encompassing. It is the most beautiful and silent, and it is the highest realm of music. Artificial music is beautiful, so it will make passengers stop, but the beauty of this kind of music with sound is secular and temporary, which will make people deaf. In order to "do nothing but stomach", we should abolish the enjoyment of eyes and ears and all cultures including music, so as to achieve the goal of "governing by doing nothing" that Laozi hoped. On the surface, Taoism seems to have a negative attitude towards music and beauty, but on the contrary, they attach more importance to music than any other school-music exists as an art; Pay more attention to beauty-intrinsic beauty and spiritual beauty higher than formal beauty. In other words, it emphasizes the non-cognitive law of artistic creation, that is, the aesthetic law, which is exactly what other schools have not noticed.

Confucianism regards "goodness" and "harmony" as beauty.

Confucian music theory fully affirmed the role of music in social life. In terms of music content and artistic form, Confucian music theory puts "goodness" and "harmony" in the first place, and the beauty of artistic form in the second place. China's traditional music aesthetics takes "harmony" as its core, which has a far-reaching influence on the development of China musicians. As the founder of Confucianism, Confucius is one of the important representatives of China's music culture history. His musical thoughts are mainly concentrated in The Analects of Confucius. Politically, Confucius advocated "ruling the country by virtue" and "ruling the country by courtesy", emphasizing the political role of etiquette and music, and emphasizing that music can influence people morally. He once said, "changing customs is not good at music, and the people are not polite." Confucius thought that music was ideological and artistic. After that, Gong Sunni, a disciple of Confucius, inherited and developed the Confucian music theory, and his opinions were preserved in the music treatise Yue Ji compiled by scholars in the Han Dynasty. Gong Xunni opposed the view that some people simply regarded music as a luxury or pastime at that time, and also opposed the view that music denied its existence. He believes that music is a subjective reflection of the objective world, and "music" is that people's hearts are inspired by external things. It produces certain thoughts and feelings, and then vividly reproduces them with sounds and dance movements organized according to certain rules. Secondly, the author also clearly discusses the relationship between music and life and politics, and thinks that music is bound to show social politics and serve politics, that is to say, music and politics are interlinked. Therefore, the music in the Taiping era must be full of happiness, and politics is also civilized and beautiful. Music in troubled times must be full of resentment, and politics is also perverse; The music in the era of national ruin and death must be full of sadness and miserable people's livelihood.

Gong Xunni believes that music must emphasize its political and moral standards in order to give full play to its educational function. The so-called "moral supremacy", that is to say, "morality" that conforms to "ritual" (feudal ruling order and moral norms) is the first-class work. In this sense, artistic standards are secondary, and the so-called "art is inferior". However, the author does not think it is necessary for "art" to "treat its decoration", that is, to express it in the form of beauty. It is necessary to make the melody ("sound"), lyrics ("text") and various forms and expressions of beauty ("straightness, simplicity and rhyme") meet the requirements of the content, which can make people's hearts be good. In the view of Yue Ji, all thoughts are "drowning sound" and "lewd music" that should be opposed. It can be seen that what Confucianism emphasizes is the connection between music and real life, the unity of emotion and reason, and the practical effect of music serving social politics, which is not discussed by other schools. However, "Confucianism regarded music as a tool to nourish the heart and nature from the beginning. Without the concept of independent art, everything would be benign, and only such music can make it.

Throughout the debate on music thought in the Spring and Autumn Period and the Warring States Period, Confucianism has the most positive view on music. It denies the traditional idea that music belongs to "God" and all kinds of opinions denying the existence of music since Shang and Zhou Dynasties, affirms the connection between music and real life, and lays the realistic tradition of China's music. However, overemphasizing the practical utility of music will often hinder the development of art and aesthetics, and make music lose its aesthetic feeling and the power to shock the soul. Taoism's thought of "existence and non-existence" has become its opposition and supplement. With its transcendental power (imagination, emotion, beauty, and later vividness, artistic conception, etc.), it provided a new impetus for the development of China music. In a word, Confucianism and Taoism initially laid the ideological system of China's music aesthetics, which had a great influence on the music of the feudal society in China for thousands of years.

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