| "Zuo Zhuan" is one of the thirteen classics of Confucianism, which describes a lot of ritual and music-related literature. The literature about Xiangbin and its music is relatively rich, which is worthy of special study. As an important ceremonial activity in which Chinese ancient nobles entertained their guests, Xiangbin is inextricably linked with the Five Rites. I’ll carry on a classification survey of different levels of Xiangbin music according to the different identities of hosts and guests during Xiangbin, such as Emperor enjoy princes, two kings enjoy each other(princes enjoy princes), princes enjoy their minister. Xiangbin music specifically includes Jinzou, Zhengyue, Wusuan music and so on, and wherein Zhengyue also includes Gongge, Shenzou, Jiange and Heyue. In these Xiangbin activities when guests identity levels are different, they’ll use different tracks and the scale will be adjusted according to the guests’ status, but the tracks between song stage are fixed; when guests the identity of guests are the same, regardless of Xiangbin activities specifically refers to Xiangli or Yanli, the tracks used are basically the same. Through classificatory study of Xiangbin music used in different levels, I think Xiangbin activity and hierarchy embodied by Xiangbin music are the extension of national politics which is behind Chodo and it has a series of significant functions in national politics, such as entertaining guests, exchanging politics, reconciling nationalrelationship, keeping the relationship between monarch and ministers, clarifying enlightenment, solidifying levels, displaying hierarchy. The phenomenon of arrogating ritual system in the course of Xiangbin is an inevitable result of social historical development and musical art itself development. |
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