Sinicization Of “Yangqin” Research

The history of culture and communication between China and western countries is very long. Music was an disposable art in these progress both from the mission of Zhang Qian to the western regions in Han Dynasty to pilgrimage to the West of Xuanzang in Tang Dynasty, and from Zheng He’s Voyages in Ming Dynasty to the arrival of missionaries in Ming and Qing Dynasties, which carried the thoughts and wisdom and Dulcimer is one of symbol of the communication in music and culture between China and western countries. According to the historical records, dulcimer was introduced to Chinese Southeast coast in the Ming and Qing dynasties. After spreading among the people, it was gradually accepted by them; to enhance national cultural cohesion after the foundation of China, it got a professional development,accepted by local schools and professional orchestras. From amateur to professionals and from the local to the whole nation, dulcimer turns the Chinese national musical instrument, which is indispensable in national music. Dulcimer is a typical example of localization.Focusing on this musical instrument, including its diachronic development of music and morphological phenomena, This paper will explore the evolution of dulcimer from "Yang(foreign)" to "Yang(Chinese pronunciation)" in cultural aspects with the method of field investigation and literature interaction. After analyzing over 400-year external history of dulcimer, it will be able to offer a better way to carry out China’s musical culture and show the national culture in modern times. As the material carrier between human and music, dulcimer is the abstract concept of music reflected by specific musical forms. Therefore,it is an important method to understand the Sinicization of exotic culture by researching information born in instruments.The historical origin of Dulcimer brought about by scholars at home and abroad in20 th and 21 st century will be discussed in the first chapter: discuss the three domestic opinions about historical origins of the dulcimer, and demonstrate the close relationship between dulcimer and stringed instruments on the basis of previous studies, in addition to dulcimer’s name, type, distribution and function in other countries and two spreading methods of dulcimer.The change of the localization of foreign dulcimer will be discussed from the perspective of musical instruments’ reform in Chapter Two. The internal cause of Sinicization will be analyzed from the aspects of type, material, law system, which is,influenced by geographical environment, production technology, dulcimer was improved to match Chinese folk music language.Over 400-year change from seventeenth century to twentieth century of dulcimer will be discussed from the perspective of musical existence, such as music, opera,instrumental music, and minority music. It will be demonstrated that turning Chinese folk musical instrument has much to do with the local customs, dialects and ideas with the method of field investigation and referencing historical literature.The musical change of dulcimer will be discussed from the perspective of music ontology in Chapter Four. Dulcimer style in music tunes, track type, form structure,and playing techniques in different times will be analyzed by comparing different documents.The role of dulcimer in different times in social and cultural activities will be analyzed in Chapter Five, and reflect traditional Chinese culture by observing music performance.