The Evolution Of Daqu

Daqu is the most concerned thing in the musical history research of our country, since Wang Guowei approach it "in the Demonstration of Tang and Song Dynasties’s Daqu " in Xuantong period first year (1909) of Qing Dynasty, about more than100years, scholars have given much attention on it, have conducted the exhaustive research. This dissertation, on the foundation of existing research results, with the perspective of the system and function, according to two veins of ceremonial and profane, do comprehensive and in-depth study on Daqu separately from the music structure, music institution and "Yue Ren"(entertainer), broadens the study vision of Daqu, reveals the significance of daqu’s dynamic evolution.This dissertation includes six chapters, composed of eight parts. Introduction reviewed the past research, put forward "the dynamic evolution of Daqu", which is a new topic; elaborates the historical reason of "Daqu", defines the three concepts of "Daqu""ceremonial Daqu" and "profane Daqu", raised the significance of daqu’s study from the three aspects of music system, music function, music ontology. The first chapter takes prehistoric music and dance as object of study, sorts out the development course of prehistoric music and dance through literature and archaeology material, and elaborateds prehistoric music and dance with morphological significance of Daqu from the three aspects of music ontology, music function and Performance way, reveals the generation gene of Daqu and the power factor in the long historical development and evolution. In the second chapter taking "the six generation’s dance"、"Yuejin"、"Chuci" as the research object, explains the "six generation’s dance" with "ceremonial Daqu" from the music system, music function; reveals the music of "Yuejin"、"Chuci" with Daqu structural elements; demonstrates the act of zhougong formulating ceremonial music, ceremonial system on the formation and significance of ceremonial Daqu, and discusses the fusion of ceremonial Daqu and profane music from the aspect of "the instruments of Jinshi, used both in ceremonial music and profane music". The third chapter reveals the development and inheritance of ceremonial Daqu during Han、Wei、northern and Southern Dynasties from the music system; taking the fifteen Daqu in "Songshu·yuezhi" as object, discusses the historical origin and context of Weijin profane Daqu formation, the instruments of Weijin profane Daqu, the property of the structure of Weijin profane Daqu and the significance of "Yue Ren"(entertainer). The fourth chapter, taking the Li Tang Dynasty’s mature music system as the background, reveals the significance of "Yayue Daqu" existing in "the six code of Tang Dynasty"; inquirys into institution、 inheritance、transmission、integration and the structure of "ceremonial Daqu" and "profane Daqu" from music function and "Yue Ji" system; elaborates prosperous situation of "ceremonial Daqu" and "profane Daqu" in Tang Dynasty. The fifth chapter sorts out the development and evolution of daqu from Song and Yuan dynasty to Ming and Qing dynasty from two aspects of ceremonial and profane; reveals ceremonial Daqu following the past music the in Song and Yuan dynasty, taking on a new look of development in the music system and words of songs in the Ming and Qing dynasty; discusses the relationship of the profane Daqu of Song Dynasty with Chanda、 Zhugongdiao and Zaju(drama), proves the significance of profane Daqu on Chinese large divertimento form of music. The sixth chapter scans the various remains of Daqu macroscopically from classification, reveals the facts of Daqu remains existing abundantly; Taking "the Collection of folk instrumental music in Hebei provinc" and "the Collection of Gongche notation of old folk music in Hebei provinc" as the research object, discusses their close relationship with Daqu and the reason why they are still called as Daqu in the present. Conclusion summarizes the whole dissertation and the content of each chapter, and makes a further explaination about the purport of this dissertation.In short, music system, music function and music ontology not only build the studying idea and the demonstration system of this dissertation, but also build integrated、 richness and continues connotation of Daqu, which is the significance of daqu’s dynamic evolution.