There are several theories about the origin of music in ancient China, please list them one by one and explain their approximate meanings?

Section 1: The origin of music (Outline of the origin of music, p. 3)

How did music originate? What is the origin of music ("what" is not the same as "what" is not necessarily a "thing")7 has long been a subject of inquiry, and many propositions and arguments have been put forward. put forward a lot of propositions or arguments below I summarize and brief such as 72

A, copying said

"The ravine scripture" the great wilderness west scripture "said:" southwest of the sea, the red water of the south of the quicksand of the w7 someone er two green Wan multiplied by the two dragons, the name of the summer after the opening of the upper three rejected in the unavailability of the "Nine Arguments" and the "Nine Songs" below. "Nine Songs" the following (all the name of the heavenly emperor music also open to ascend to heaven and steal the following use also. Open short said: section was nine coronet is with the emperor "defense" the same official of the people is "nine songs bo' and said: 'shall not steal "defense" and "nine songs p to garden 70')."

Ancient Greece on the divine congregation of the Muses, the goddesses of literature and art

Greek Getting Along Chart, The Book of Ioan: "Each poet hangs, each according to his character, in the body of the god of poetry to whom he is specially termed, L, by virtue of which the god of poetry is attached to the - . ...-. Just as the sorcerers, when they hear the tunes of the special enjoyment of the god by virtue of which they are attached, feel close to the sails of the songs and dances that naturally follow them; and when they meet with other tunes, they seem to be deaf and deaf to them."

" German gI team Landau, "On the Origin of Music": "In primitive music. More clearly (Outline of the Origin of Music, p. 4) shows the close association of art with the unnatural and the unrealistic. In primitive religions, the almond music and dance were regarded as God-given winds, as the legend of an Australasian tribe has it, the first taught all the rituals, dances, and music to the people who were created later on, and the good god of the other tribe taught the corresponding songs to the witch-doctors. We have already spoken of the prominence of religious and ceremonial songs among almost all primitive peoples, and music is everywhere seen to accompany the regular and solemn rites of witchcraft."

Two, horizontal sound said

"Lu Shi Chun Qiu? Ancient Music" said: "In the past, the Yellow Emperor made the part of Lun as a law. The part of the Lun "...? Listen to the phoenix's song, in order to distinguish the twelve rhythms." "Emperor Yao2 ordered Quality to make music. The music of the mountains, forests, and valleys was to be played."

Ancient Hieronymus Desmocritus (ex peng L ex 3ro) in his Writings into a Book irrigated people "from swans and yellow velvet and other geng gB birds, learned to sing."

Plato (4N-ex-Yang) believed that music was a form of imitation. One of the differences between men and beasts is that men are the most eager to imitate and their first knowledge is derived from imitation). y Men always feel pleasure in imitating the works that they help to make. Imitation is in our nature, as is the sense of pitch and rhythm, which in the case of "rhyme" is clearly a rhythmic passage. Those who were born most richly endowed with this qualification developed it step by step and later made poetry out of temporary oral occupation." "Rhythm and tone are the closest roots of reality, reflecting the qualities of anger and moderation, bravery and temperance, and all opposing qualities and other dispositions."

Lucretius (99-99 BC) of ancient Rome, in The Origin of Things, said, "Long before men (Outline of Musical Origins, p. 5) began to be able to compose smooth songs for the enjoyment of the ear, they learned to simulate with their mouths the bright chirping of the birds, and the first thing they taught the inhabitants to blow on the rushes was the sound of the westerly wind in the empty stems of the reeds. the rattling of the west wind in the empty stems of the reeds."

England's Hayes (1roL a 1r help) "Essays on Music, Painting, and Poetry," says: "Music in inanimate nature may imitate the sound of running water, the clamor, the roar, and all the sounds that the water makes in fountains, waterfalls, the sea, the river, and elsewhere; and so do the thunder and the wind. ....... In the animal kingdom p music can imitate the vocal preparations of individual animals above all the singing of birds."

Three, mathematical theory

"Lu Shi Chun Qiu? Zhongxia Ji" said: "the music of the origin of the far Ao born in the degree of E, this son of too one. Too life two Ni two instrument out of yin and yang; yin and yang change, a on a Ty together into nitrogen ...... the first king set 5F thus born."

Pythagorean school of Achter "overtone" said: "the height of the Yuk according to the length of the string and the danger at the same time the sound of the high and low and the length of the string inversely proportional to the change of letter. The higher the sound, the shorter the strings. Moreover, the mechanical division of the strings does not provide an understanding of the height of the sound. The division of the octave is not by arithmetic into two different tones, but by acoustic division into two unequal intervals, the fourth 3:4 and the fifth 2:30."

St. Augustine (4:4) of Rome, who was the first to use the octave in his music, said that the octave is the most important of all the tones in his music. Augustine (4-430), "Reduction to Music" in B2 "(Augustine believed that music must be grounded in the contrasting relationship of numbers1 and that without a knowledge of the contrasts of numbers there can be no sense of rhythm and metre whereas numbers are the basis of beauty perceived auditorily and visually. --As we have already pointed out, the will for equality is revealed in the numbers. The will in question is shown not only in the beauty of the audible, or in the movement of objects, but also in the visible form. This will in such forms has been more frequently substituted in beauty ....... To the strong flashes of light, we return to the darkness (Outline of Musical Sources, p. 6) of Tohoka, which we want to see clearly, and to the sound, which is too loud for us, which we dislike because it hums. The problem is not in the intervals of time, but in the sound itself, which in such quantities seems to be light unity silence is opposed to sound N7 as if darkness and color were opposed to each other."

Germany Leibniz said: "sound Tim on its basis, is the mathematical pool on its emergence, is intuition No" [quoted from Rau "Baru kneading" Leibniz and its set of outside such as)

Four, out of thin air to create said

Germany Hanslick ( 1825-1004) "On the Beauty of Music" said: "Poetry, painting, sculpture from the natural world around us to draw never-ending material. "6G If nature were not first modeled on the theory that the painter could not paint a single piece of leather or a single piece of wood, the sculptor could not shape a human being if he did not know the image of the true in and use it as a model." "There is no existing model for music there is no solin on which to base a work there is no thing of natural beauty from which music can be modeled." "The composer cannot transform anything 6y he must create everything from scratch ...... from his own breast that which is not found in nature." "Music uses musical notes to form melody and harmony These are the two main elements of the art of music. They do not exist higher in nature they are the product of the human spirit." "Nature has not given us a ready-made and prepared system of musical sounds as material for art, it has only given us some material raw materials which we utilize in the service of music. It is not the sound of the animal that is important to us Shen, but the animal's intestines, and music gets the most benefit not from the night meat but from the sheep."

The German Grosser (1.1.199Y), "The Origin of Art," said, "All other arts take their materials and modes from the tangible world, from nature, and they are imitative and pictorial arts, but music, at least in the case of purely musical compositions, does not copy any of the phenomena of nature." (An Outline of the Origin and Flow of Music , p. 7)

V. Social life theory

1. Sexuality theory.

Darwin proposed that music nuns the sexual love of animals.

2. Game said.

Bihair believed that art originated in play.

3. Witchcraft religion said.

English Edward? Taylor in the "primitive culture" in the "witchcraft religion": "the worldview of the savage is to give all phenomena out of thin air to add the omnipresent personification of the capricious role of the gods."

Thomas Munro, the American author of Munro, "The Development of Art and Other Theories of Cultural History," says, "In the early stages of village sedentary life, witchcraft and religion were developed and systematized d.... ...... And ceremonial activities, speaking, singing, and dancing were used to ensure that witchcraft helped pill these techniques were often changeda but witchcraft always encouraged the development of the arts."

4. need to say.

"Lu's Spring and Autumn? Midsummer Chronicle? Ancient music chapter" said: "In the past, the ancient Zhu Chang's rule of the world is also more wind and Yang Qi storage flooding all things to honor the fruit does not work, so the Shida as the five-stringed Arthur since the yin, to set the group of life."

Romanian Ainescu (188l-1956) said: "Music is the simplest, even the primitive method of emotional expression, it is very clear team to know that even the most ordinary people a common peasant, in the experience of profound grief when he is low he is from not speak than he moaned眷which is already This is already similar to the desire to sing. ...... Music is the only way to express the various nuances of inner feeling." (From Goodall: Aeneid)

Russian Lev? Tolstoy (1828 - 1910) said, "Art originated when a man, in order to convey to others the feelings he had experienced, reawakened them in his heart (Outline of Musical Sources , p. 8) and expressed them by some outward sign. "

6. Labor says.

Music originated from labor. Lüshi Chunqiu? Lascivious Rhetoric": "Now lift the big wood to prepare the front call mikoshi bow, the back also responded to it. This is in the lifting of large wood good Ao" China's Western Han Dynasty, King of Huainan Liu An's "Huainanzi? Tao should be training" in the theory of "today's man lifting large wood, the front call evil Xu (y8hu), the back should also be, this lifting heavy persuasion of the song."

' Lu Xun said in 421AL Literature Talk: "Our ancestors of primitive man, the original is not even speak, in order to *** with the collaboration, must be expressed, only gradually line out the complex sound. If at that time everyone lifting wood are party to strain, but not to publish, one of them called Road Hangyu Hangyu', then this is the creation of everyone to admire: application Nf this is the same as publishing if with what mark retained the whereabouts of this is literature he is certainly the atmosphere is also a literary mouse is dirty Yu Hangyu' paw. "

6. reflect the product said.

Wang Tu Da "how music is produced" said: "We recognize that the human need to express emotions is the fundamental motive that led to the emergence of music. Because whether it is the natural sound phenomenon of the mold 6 J or for the words of the language of the sublimation of insufficient 'or in order to courtship and singing love, or for witchcraft activities, religious ceremonies, or along with the labor and the exhale in the final analysis, are all in order to people and the human body to express, express and exchange of the need for emotion. And this emotional come fox is precisely the product of people affected by objective things, real life."

Sixth, the language said

1. the same thought said.

"Chinese Encyclopedia? Music and Dance Volume" Zhao satirize and Zhao Songguang in the preface to the music B; "in the gradual formation of human language with strict semantics against the inevitable use of an emotional call of the order of the island in the observation of the black beaver scarlet has been recorded in a similar phenomenon (" musical sources and flows of the syllabus ", p. 9 ) similar phenomena. This 18 emotional call is both the precursor of language and the germ of music. It is also the germ of music. In the budding of music, there are accompanied by the rhythmic effect of the hands and feet, there are high or low growth or short call in the tone with a variety of glissandos appear indeed ordering the meter for a few; these buds of the form of the form is simple but the primitive groups of human beings to communicate between the exchange of aspirations and emotions, to express the requirements of the will to collaborate with the important means of labor or combat

Minor. "

9. Mold language.

French Diderot (1g two 3 - 2 body 84) "pick up Mo's nephew," said: "musicians or the model of the tune is what is it 7 if the model is a living thought than that is the recitation, if the model is not alive than that is the sound. The recitation should be regarded as a thread and the tune as another thread wrapped around the first. The more powerful and real the recitation of the original view of the tune, the more points of intersection between the tune imitating the recitation and it, the more real and beautiful the tune will be, and this is what we musicians in Yukon have so well understood ...... I will not talk about the rhythm for the moment, which is another condition of the song, and I will confine myself to the performance, which is no more obvious than a passage I read somewhere: the syllables are the key to the tune. The syllable is the nursery of the tune. From this we can judge how difficult and important it is to be able to make a good chant. There is no beautiful tune that cannot be made into a beautiful chant, and there is no beautiful chant that cannot be made into a tune by a skillful person. I am not playing with the idea that whoever recites well sings well, but if one sings well and does not recite well, I find it strange."

Italian Galileo (7-1591), in his Dialogues on Ancient and New Music, said, "When, for the sake of dissipation, you go to see the tragedies and comedies performed by market actors, restrain your unrestrained laughter! You also observe if a nobleman and another quiet nobleman talk to the ice actor is using what method of speech, to see how they speak with what voice (the Bureau or low tone), with how much long and short tone, the power of the heavy preparation posture is how how to express the degree of movement of the fast and slow. If one of them is talking to a servant, or if they are talking to each other, please pay a little attention to the differences between these aspects of the TP. (An Outline of Musical Etymology , p. 10) Just think about it: how an angry and agitated person speaks6l How a married woman, a girl, a common child, a cunning whore, speaks60 and how a man in love speaks when he talks to his lover about trying to make her feel good about her love, than how a person who is whining, shouting, fearful of cowardice, and joyful of joy, speaks. If you observe carefully and study these different situations with care you may arrive at a rule of what to do in order to express any other situation."

French Luzhong (1Y1Y-1Yr8) Oh on the origin of language, said: "Melody imitates the changes of the incoming voice to express complaints, to express the pain or joy of the call of the people to express the threat and sigh of the fart of the vocal expression of all the emotions belongs to the range of melodic expression. The melody imitates the tones of the language and the tones which in every dialect correspond to a certain activity of the mind; it is not merely laddering you, it is speaking tendrils, and that syllabic, but lively and passionate language is a hundred times stronger than everyday speech. This is the source of the power of musical imitation this is the source of the power of song to feel the human gills."

England's F? Hutchison (2694-1Y4Y), "On the Roots of the Two Concepts of Beauty and Virtue," says: "If we recognize in the melody of a song, whether sung or played on a musical instrument, between its beats or cadences, or in other cases, a resemblance to the sound of a human voice in a certain passion, we are y affected by it. An inductive or infectious power evokes in us the emotions of melancholy, joy, seriousness, deep thought, etc."

3. Sublimation said.

German Grimm "Singing, rhymes and tunes came into being because of the emphasis on the recitation of words. As soon as the rhyme was repeated, it brought about the form of poetry, and the high abstraction of the tune gave rise to all other music."

6. Origin.

*Shangshu? Yao Code" said? "Poetry speaks and sings Kokkai, no phase to take away from other gods and men to and ."' The ("Music sources and flows of science outline" , page 11)

"Music records" said: "so the song for the blind also long words also. Saying so say, words of insufficient so long words: long words of insufficient so warm sighs of insufficient, consultation sighs of insufficient, so do not know the hands of the dance of the feet."

Tang dynasty wu zetian save compiled "music book to record" said: "where the emotional nature of the internal full, singing outside that there are seven voices, to become the tone."

'China's Tibetan aphorism: "Those who can talk will sing, and those who can walk will dance." ''

; Frederick? Rowbotham also asserts, "The origin of singing music must be found in the sound of excited speech."

The German Schubart (1739--1791), in his Thoughts on the Aesthetics of Music, said, "All musical instruments are merely imitations of songs: singing as if the king were sitting on his throne, and twirling his instruments as if his people were brittle in front of him. The human voice is the original sound of nature, and all other sounds of nature are but distant echoes of this divine original."

Englishman Spencer (1820-1903) argued that "music arises essentially from the emotional ease of the tone of speech. ...... Singing must be developed through the iambic pentameter and exaggerated features present in speech