Aiming to give a complete and reasonable explain to the musical features of The Odes, this thesis is based on the lyrics of The Odes as well as the studies of former scholars in other fields and is constituted by the following four parts:1. Overall Characteristics of The Music in Chu Territory. In this section, the environmental factors that had made notable impacts on the musical features of The Odes will be analyzed. The step will be : firstly sum up the cultural and musical characters of sorcery system, then conclude the contacts and differentiations between the two delegates-Chu and Shang music in the system to delineate a more clear outline for the visage of the former.2. Constructional character of The Odes. Musical construction in The Odes and the level of its songs will be studied in this part. In the first place according to the godship of the Deities in the work and the orderliness in rites in ancient times, together with the particularity of sacrifices in sorcery culture, reason the integrality of The Odes' construction. In the next place analyze the rhythm of language in its eleven articles to deduce out the logical development of musical emotion among them for the sake of verifing the rationality of the work's whole construction, and then peep the degree of the song's progress in Chu territory.3. Musical Instruments in The Odes. By virtue of the current achievements of musical archeology, this section attempts to discuss the six kinds of musical instruments inside the lyrics so as to investigate the musical instruments in Chu territory at that time, which performed the music of The Odes, and also to lay out the function of the instrumental collocation in the works' emotional progress.4. Essence of the musical features of The Odes. According to the level of the song, dance, music and the female performers in The Odes, speculate its musical modality. Then prove the conclusion from both the anti and the positive sides, with appraises form Confucian scholars and the verses by Qu-Yuan himself. |