Research Of Qing-shang Music

There is, by now, no writings about Qingshang music from the angle of music has published. From various works, periodical literatures and reference books, we can infer that the research in this regard mainly concentrated in four aspects:historical origin, music structure, music nature as well as connotation of Ping, Qing and Se tunes. As for the existing questions, some have been explained reasonably, while more others are to be further studied and verified.To understand the historical significance of Qingshang music, this doctoral dissertation re-analyzes the historical materials as well as its source and course. This provides a basis for the clarification of the headstream and substance of Ping, Qing and Se tunes, so that we could make clear the relationship between them and the tunes used commonly at the present through comparison.This dissertation includes four parts:preface,introduction, chapters and epilogue. The topic is put forward in the first part and listed as a keyword together with some forms, music genres, modes of ancient Chinese music as well as music organizations. Summing up different opinions of scholars at all times and in all lands, and analyzing the historical materials, the author suggests in the first chapter that Qingshang music could trace back to Cao and Wei period dividing into two historic stages:Qingshang three-tone song and Suitang Qing music. It is in Sui Dynasty that Qingshang Bureau was established excluding the main viewpoint that Qingshang music comes from Xianghe song and Fangzhong music. The connotation of Qingshang music, together with its music structure and music nature, is analyzed in the second chapter. In terms of music structure, this dissertation, taking Qingshang three-tone song as the main object of analysis, not only interprets the meanings of Nong, Buxian, Gexian, Jie and Song, but also compare the different style between it and Daqu. Taken as conviviality in all times in terms of music nature, Qingshang music was "Zhengsheng feast music" in period of Qingshang three-tone song and "folk feast music" in ages of Sui Tang Qing music. As a core section, the third chapter investigates the essence and connotation of Ping, Qing and Se tunes. Through the analysis and research of the historical materials and music scores, we know that the so-called three-tune is in fact three kinds of tunes:Ping is Lin Zhong pitch Qing Tai Cu pitch and Se Huang Zhong pitch. Correspond to the three tunes in Dizi, Ping is Zhengsheng tune, Qing is Xiazhi tune and Se is Qingjiao tune. Absorbed by twenty-eight tunes of Yan music in Tang&Song dynasty and tuning method of Guqin, the tune relationship of Huangzhong-Linzhong-Taicu still exists in the familiar three tunes in traditional Chinese music up to now.