The Sense Of "Scale Of Court Banquet Musie" Since Modern Time

Using a view of ideological history, this paper considers the sense of scale of Court Banquet Music as my object and is focus on the formation and development of sense of scale Court Banquet Music since modern time. To do exhibit a degree of certainty of its the cause and effect, it combs academic viewpoints from five representative scholars during this historic process.Article totally is divided into four parts except the conclusion and introduction part.First, it combs Wang Guangqi's theory of"Blues". Wang Guangqi proposed his own view of theory of Blues about the record of the History of the Song Dynasty in the thirties of the 20th century. He interprets"transfer"and"intercalary"that is described in the mode of Court Banquet Music by Cai Yuanding as Qing Jue and Qing Yu. He also considers seven modes of Court Banquet Music as a sequence that contains pure quaternary and little seven level. Some scholars later consider the code of Court Banquet Music by Cai Yuanding as the historical materials in concordance with Wang Guangqi, then the sense of Court Banquet Music is formed.Second, it combs Yang Yinliu's sense of"scale of Qing Shang". He accepts the interpretation of"transfer"and"intercalary"that is made by Wang Guangqi from forties to fifties years in the 20th century. To mix with the mode of Xiang He and Qing Shang since Han Dynasty, he named the scale that is be used in profane music of ancient times,"the scale of Qing Shang''and the sense of this scale carries through in his writing of the history of music. Then it is known as"the scale of the mode of Qing Shang".Third, it combs Feng Wenci and Xia Ye's theory of"scale of Court Banquet Music". By the late 1950s, Li Yinghai gives its formal name:"the scale of Court Banquet Music"and Li Chongguang exhausts three kinds of scales including"scale of Court Banquet Music"into educational materials of musical theoretic in early 60's. In the eighties, Feng Wenci correlates the scales that are used in traditional music with certain historical records and tortes out a statement of"Variety of scale of Court Banquet Music"; Xia Ye thinks the sidewise sale in the mode of Xiang He is"the scale of Court Banquet Music"at first, then relates"scale of Court Banquet Music"with Qiu Ci pipa and deems it is based on Su Zhipo's mode of Qiu Ci pipa. New progress has been made in the study of the sense of"scale of Court Banquet Music"after careful studies from Mr.Feng and Mr.XiaFourth, it combs Huang Xiangpeng's sense of"the scale of Qing Shang (profane music). In the eighties of the 20th century, Huang Xiangpeng first systematically summarizes the three kinds of the seven notes of scale, then propounds a theory of"Three-Gong in One Yun"and makes a further interpretation in the sense of"scale of Court Banquet Music". His sense is almost adopted by some reference books, educational materials of musical theoretic, works of musical theory and musical literary theory in recent twenty years and has serious repercussions in the academic world.Through the study of this thesis, the research will help us improving an essential cognition of"the scale of Court Banquet Music"and it establishes the base on further study of three kinds of sense of scale and profound proof for solving the problem of"Three-Gong in One Yun".