The Relationship Between The Ancient Poetics In Ming Dynasty And The Music Teaching Culture

In the aesthetic history of Chinese classical poetry,the unity of poetry and music is the origin of poetry.With the separation of poetry and music and the constant abundance of Confucian theories on poetry education,music education has become an undercurrent in the development of poetry.In the process when poetry is separated from music and presented in words,it is often accompanied by the way of music education to reflect on the aesthetic state of written poetry.At the end of the Chinese classical poetry,which was nearly complete and saturated in all subjects and genres,the poetic thinking of optimistic poetry guided the development of poetry with the aesthetic ideal of integrating poetry and music.It is from this point of view that the author observes the reversion-restoring poetics of the Ming dynasty and excavates the reversion-restoring poetics' recognition of music teaching in the exploration of the development of poetry outside the zong tang and zong han and wei dynasties.In line with this research idea,the author first starts from the difference and connection between music teaching and poetry teaching,cleans up the source of the discussion on poetry based on music,then proceeds from the development of written poetry to the climax and the emergence of music teaching's resistance to the poetics of the southern song dynasty,and leads to the revival of the aesthetic factors of music teaching in the poetics of restoring ancient ways in Ming dynasty.The introduction of this paper firstly clarifies the origin and research scope of this topic.It sorts out the research achievements of the current academic circle from the works taking the poetics of restoring ancient ways in the Ming dynasty as the special research object,the theoretical works and papers involving the poetics of restoring ancient ways in the Ming dynasty,and indicates the research space,value and significance of this topic.This article first chapter poetry is investigated from the perspective of philology and the origin of music education,illustrates the poetry teaching and music teaching as the two cultivation of Confucian concept of parallel in later generations.It also summarize and elucidated that five aesthetic factorsof the music teaching,indicating the status of these aesthetic factor in the development of poetry.The last section clarifies the historical background of the revival of music teaching through the macro understanding of the decline of music teaching and the rise of literal poetry.In this paper,the development of poetry in the second chapter,taking the poem as a poem,and the emergence as the entry point for the rise of the theory in the poem,has selected the poetic concept of the representative poetics,Yang shi hong,Gao bing and Li dongyang,and the course of the song Ming dynasty has been gradually clear through the song dynasty.The third chapter is the main part of this thesis,which integrates the recognition of the aesthetic factors of music teaching in the ancient poetics,and elaborates on the exploration of the poetry of the Ming dynasty from theory to creation under the music teaching.The fourth chapter of this paper shows that the influence of music teaching has been accompanied by the continuation of the retro poetry in Ming dynasty,and the emphasis on the balance between poetry aesthetics and social value in the prosperous period of retro poetry tends to emphasize the social value of poetry,which means that music teaching gradually returns to the latent,and poetry teaching again occupies the dominant position in affecting poetry.