A Preliminary Study Of Zheng's Cross Sea Communication To Japan And Its Changing Trajectory

In the oriental Chinese character cultural circle with China as its axis,Japan in East Asia was deeply influenced by the ancient Chinese music culture.Especially,the monks studying in China and Japan who travelled between China and Japan in the Tang Dynasty,took away valuable cultural wealth from the Tang Dynasty,including Tang music,which became the foundation of japanization.Zheng was introduced into Japan in this process.The professional field of this paper includes the research and exploration of the relationship between Chinese ancient music and the music of the East Asian countries and its evolution.Firstly,the article focuses on the historical investigation of the Zheng introduced from China.Taking the form in literature as reference,and Zheng player,shape and structure,inheritance and so on as the link,this paper runs through the Qin and Han dynasties to the Sui and Tang dynasties,and uses this as the introduction,and then leads to the process of the Japanese Zheng crossing the sea to the east.In the course of this inheritance,the contributions made by the Chinese,the Japanese and the diplomats to Tang Dynasty in the transmission of zheng across the sea to the east are described from three aspects.In Chapter 2,time inheritance is the main line.This paper vertically combs the process of gradual evolution of Zheng instruments in the soil of Japan,and in this process,the ancient music scores that have been remained so far,and different inheritance schools are displayed.On the basis of this,the author thinks that the diversity pattern is one of the characteristics of koto(Japanese Zheng)evolution,and at the same time,there are obvious relations between the evolution and politics,culture and so on.The main part of the article is Chapter 3.This chapter,though also focuses on evolution,is different from Chapter 2 whose main line is longitudinal timeline and which is a horizontal analysis process.Chapter 3 makes further study of the inheritance of the music scores of folk "six paragraphs(rokuden no chou)" which has three pieces of the same name and has spanned 300 years.Later studies focuses on the inheritance and changes of the tune from the beginning of the gakuso to the zokuso.Finally,from the perspective of inheritance,taking time as the line,through the solo of "six paragraphs"(Rokuden),the Sankyoku "the Voice of Crane(Tsuru no koe)",the"six paragraphs" ensemble of shamisen,and the inheritance and change of the "six paragraphs"(Rokeden)koto music score of the original hand,from the music noumenon and the practice of individual playing,this part analyzes the specific changes of the form as well as the individual character of koto's compatible absorption.The last part explores the cultural concept in koto performance from the perspective of inheritance.This chapter is divided into four parts,discusses 4 aspects,religion,institution,performance and field survey respectively,and explores the reason why it is evolved up to today and still inherited from generation to generation.In addition to the study of the process of koto inheritance,the reference value to the inheritance of zheng instruments is also one of the problems discussed in this chapter.At present,the academic research on koto mostly stays at the academic level.This paper combines theory with practice,not only focuses on the articles of predecessors and the historical materials in the literature,but also casts eyes on the music scores,lyrics and personal practice.Thus it reflects a more complete process of the koto evolution.The attention to koto,in other words,the vigorous development of koto music culture in the exotic soil,has provided valuable experiences to zheng music development.