Ancient music allusion (20 points oh)

"xiao shao" nine into the phoenix to Yi

"Shao" music is the most famous music and dance in the ancient era of sage kings Yao and Shun. Confucius commented on it as follows: "The "xiao shao" is the posthumous sound of Shun, which is warm and harmonious, like the southern wind. ......" (The Collected Words of Confucius - Zi Guan), as well as the very famous "perfect perfection" and "not knowing the taste of meat in March" (original text attached). "The expression "the phoenix comes to the instrument" was first mentioned in Shangshu - Gaotao Muo (the original text is ancient, omitted for the time being), because the music conveys the bright, beautiful and internally enriched wisdom of the author and the performer, thus evoking Hundred Birds*** to chirp and the phoenix to salute. "Great music is in harmony with heaven and earth." ("Rituals - The Book of Music") is the central idea of Chinese music culture, the story illustrates that the human center (inner spirit) is bright and full, and connected with the spirit of heaven and earth, and can be inducted and *** chirped with auspicious and beautiful things.

"The son said that "Shao" is as beautiful as it can be, and as good as it can be. It is said that Wu, as beautiful as it is, is not as good as it should be." --Lun Yu - Eight Rowdy Men

"Zi was in Qi, heard the Shao, and did not know the taste of meat for three months, and said: do not figure for the music to the extent of the same." -- "Analects of Confucius - Shui Er"

Similar stories include Shi Kuang drumming the qin and the white crane dancing in the court (see Han Fei Zi - Ten Over), etc. These allusions not only reveal the realm and bones of ancient Chinese music, but also reflect some of the basic features of the spirit of Chinese musical culture. Everything has a spirit, the mind and body are connected, if the human heart can be vast and unimpeded, return to the source, the music can also be with the spirit **** dance. For the highly skilled musicians, playing the piano is also talking about the heart. The language of music is the language of the heart, and the ability of animals to perceive the language of music is very natural. There are also some ancient sayings that have been passed down, many canonical books can be seen, such as: "Gouba drums, sinking fish out of the hearing, Bo Ya drums the qin, six horse back to the horse feed". (see "Xunzi - persuade learning", "Huainanzi - said the mountain training", "on the balance of sensory void chapter" and so on, the text is slightly different, the meaning is more or less the same), "hit the stone pat stone, the rate of the beasts dance" (in the "Shangshu - Yao Dian", "Shangshu - Gaotao Muo", etc.) are to describe the music of the music, so that the animals are also moved and attracted to the realm.

[Note: Six Horses Tilting Their Feathers, means that the horses which were grazing could not help but raise their heads from the pile of grass when they heard the sound of music coming from them; Swimming Fish Out of Hearing, means that swimming fish in the water were attracted by the sound of music and surfaced as if they were also listening to it].

Transference of Emotions at Sea

Bo Ya studied the qin with Mr. Cheng Lian for three years, but had not yet been able to concentrate his spirit and penetrate into the Divine, so Mr. Cheng Lian said, "My teacher, Fang Zi Chun, is in the East China Sea, and is able to transfer people's emotions." Together on the island, Mr. Cheng Lian again pretended to say: "I will welcome my teacher", alone in a boat and go, after ten years not to return. Bo Ya heart sad, look around, the mountains and forests quiet, lonely no one, but listen to the sea water bubbling, birds chirping, finally realized the master's intention, sighed to the sky: "Mr. also to no teacher carry on, the cover will move my feelings! After the song was completed, Mr. Chenglian came to fetch him back, and Boya became a wonderful player in the world. [Note: here Narcissus is not the name of the flower, but a class of the water god's name.]

This story is found in the "history of the qin", "Tongzhi", "Taiping Yuban", "Lefu Ancient Questions to be interpreted" and many other historical books on the qin "Narcissus manipulation" on the origin of the record, which embodies the heart of the return to the limitless, the teacher of the spirit of the Chinese culture of nature, as well as "outside the teacher of the creation, in the source of the heart" of the law of artistic creation, emphasizing that the human being It emphasizes the basic law that one's own spiritual realm directly determines the realm of musical creation and artistic expression.

Confucius learns the qin

Confucius learns the qin: Confucius learns the qin from Shixiangzi, and after ten days of learning a piece of music he is still playing it, and Shixiangzi says, "You can go on now." Confucius said, "Although the song has been able to go down, but have not yet been able to grasp the rhyme pattern and structure." After some time, Shixiangzi said, "The rhythm has been grasped, so you can add a new tune." Confucius said, "But I have not yet gained his heart's desire." After some time, Shixiangzi said, "I've got the will, now I can learn something else." Confucius said, "Though the aspiration of this song has been attained, I have not yet been able to enter fully into the realm of his mind, and attain it as a man." After some time, Confucius looked dignified, as if he had entered a new realm: at times he was solemn and solemn, pondering, at times he was pleasantly high-minded, with a profound ambition; at last he said, "I have found him: silently dark, long and tall, with a deep gaze, with a heart for the common people, with the air of a king, and a mind for all the world; who else but the king of the world could it be?" When Shixiangzi heard this, he hurriedly got up and bowed again, and replied, "My teacher also thinks that this is exactly The Exercises of King Wen heh."

This story is recorded in the Shiji - Confucius Family (a paragraph of the original text is attached), the Han Shi Wai Zhuan, Confucius Family Tales, and Lie Zi, and it not only sets a rare example for future generations to learn music, but also reflects the spirit and quality of Confucius himself, a great educator who has been a teacher for ten thousand generations, as a good learner and a good learner. "Confucius knew King Wen as a human being by the sound of his voice" (Han Shi Wai Zhuan - Volume 5), which again touches upon the issue of "knowing the voice" mentioned earlier.

The process of learning the qin generally goes through: 1) reading the score, familiarizing oneself with the style and general structure of the piece, and memorizing it; 2) pondering over it, chewing it over and over again, learning and experiencing it one section at a time, and in the course of honing it, one reaches the point where one becomes proficient in the skill, and masters the intrinsic rhythms of the piece, and grasps the feeling of the music; 3) melting the piece into one's heart and understanding the connotations and meaning of the music thoroughly, and then expressing it with a good sense of ease; and this is the first of several stages. Several stages. Then the music will flow naturally from the heart as it pleases, and will no longer be imprisoned in the baggage of skillful sculpture. The enhancement of skills in this process is obvious, and generally will not be ignored, but for the repeated chewing, to find the rhythm of the music itself, the sense of music, completely digested, into the realm of the music of this process is the only one who knows the sound of the knowledge, Confucius' good learning can be seen in the depth of his knowledge of the sound of the deep, but also can be seen in the line of Confucius as a king of the Zhou, the Duke of the lineage of Chinese culture and humanistic traditions of the last ancient inheritance, collation and promotion of the person, his will, the nature of the heart with the ancient sages, the heart to heart, a lineage of the same. heart to heart, a lineage.