Liao History Yue Chi Study

This thesis takes the yuezhi (乐志) , which was the historical records of the Three Dynasties including the Liao, the Jin and the Yuan dynasties on music, as its object of study. Primary emphasis is on the substance of the imperial court music and the build-up of music. Its major train of thought is that combining with the background of the mixture of Chinese various nationalities cultural exchange from the 10th century to the 14th century, the author objectively describes imperial court music of the three dynasties in the collection and change toward traditional music in Central Plains .On the basis of it, compared items from imperial court music with the related ones in Central Plains dynasties such as kinds, the organizational structure, musical instrument, the band, the tune and so on, the author brings to light the cultural features of imperial court music subordinate to the three dynasties of their own. The thesis is divided into seven parts (introduction, conclusion, and five chapters). The main points of each part are as follows:In the first chapter on "the yuezhi including the Lao, the Jin and the Yuan dynasties" , By a detailed examination of organization and institutions, which are about the compilation of history, the author explores the historical origin of the yuezhi of the three dynasties.The second chapter is the imperial court music of the three dynasties (the Lao, the Jin and the Yuan). The author points out that there is a remarkable difference in contents, kinds and functions between the imperial court music of the three dynasties and the traditional music of Central Plains dynasties. The reason why they are bound to the cause is that their political powers are different in attitude towards the Han culture.The third chapter is the imperial court music's inheritance from the Tang and the Song's institutions. The dissertation aims to reveal the fact and cause which the Lao inherited its music from the Tang dynasty and suggest the relationship in ceremony and music between the Jin dynasty and the Tang-Song dynasties.In the forth chapter on "the process of construction for ceremony and music of the Yuan dynasty" . The author's analysis shows that the primitive song and dance of the Mongol nationality are noted for its hunting, nomadic life and religion. Its growing strength of ceremony and music culture is attributed to the broad background of cultural exchange after Gengis-khan united all tribes in Mongolia.In the fifth chapter on "cultural features of the imperial court music of the Yuan dynasty" , after viewing the imperial court music, the author made a deep study of rituals and ceremonies, the music for ceremonial banquets in the Yuandynasty, and the Buddhist contents in the music of the imperial court music of the Yuan dynasty.The conclusion is: overall characteristics of the imperial court music have been summarized by the author.