A Study Of Chu Tune In Han,Wei And Six Dynasties

The Chu tune CI in Han,Wei and Six Dynasties,a poignant and mournful musical poetry sung mainly in Jingchu where is a place of many lakes and fog,have attracted the attention and research of many scholars since its inception.However,due to its special characteristics of combining literature and music,most of the studies on the Chu tunes CI have been focused on the Tang dynasty and the major category to which they belong,namely,the Xianghe.The article attempts to make a more comprehensive study of the surviving situation,the musical and cultural background,the skills,the types of themes,the artistic expression and the aesthetic style of the Chu tunes CI from various aspects,such as literature,musicology,themeology and literature and art.In addition to the introduction,the article is divided into four chapters and ten sections.In the introductory part,the origin and significance of the topic are explained,the current situation of the study is reviewed,the object of the study and the methodology are introduced,and the concept of "Chu tunes CI" is defined.The concept of "Chu tunes" is a time-honored concept,and its connotation is changing with the development and evolution of the times.The Chu tune CI in Han,Wei and Six Dynasties refers to the Yuefu poem circulated in this period.It was born from the Chu sound and played in a harmonious way,with obvious regional characteristics.The first chapter is about the documentation and study of Yuefu Chu tunes CI in the Han,Wei and Six Dynasties.Through the study of the documentary records from the Liang Dynasty to the Ming Dynasty,it is found that the historical records,music books and general collections have recorded the survival of the Yuefu Chu tunes CI of the Han,Wei and Six Dynasties in detail or briefly.Among them,"The Collection of Poems of the Yuefu" is the most complete documentary collection of Han,Wei,and Sixth Dynasties Chu tunes CI because of its richness,originality,extensive quotations,and the chronological arrangement,the title implying the compiler’s knowledge of the genre,and the selection standard of the dirge diction,etc.,and has become the basis and starting point for this thesis.The second chapter is about the musical and cultural background of the Han,Wei and Sixth Dynasties Yuefu Chu tunes CI.The musicality is one of the characteristics that distinguish the Yuefu poems from other poems.The formation of the Han,Wei and Sixth Dynasties Yuefu Chu tunes CI is closely related to the following factors: Firstly,the musical culture showed a shift from declinable elegance to prosperous vulgarity;secondly,the materials used for making musical instruments developed from metal and stone to mainly strings and bamboo;thirdly,the sound of Chu tunes was mostly the sadly sound of Shang and Zheng;fourthly,the musical interest was mainly "sad" as the beauty.The third chapter is about the original stories and the types of themes of Yuefu Chu tunes CI in the Han,Wei and Six Dynasties.First of all,it is found that the six Han and Wei dynasties Chu tunes CI involve Zhuo Wenjun,Zengzi,Zhuge Liang,Ban Jieyu,EmpressChen,Zhougong and Bianhe,etc.Secondly,it focuses on the theme types of the six Han and Wei dynasties Chu tunes,including love,life and having talent but no opportunity to use it.The theme of love contains the pain of abandonment,the grievances of a royal woman left out in the cold,and the desire for love of the unmarried girls;the theme of life contains the fear of the sudden death and the rich imagination of death;the theme of having talent but no opportunity to use it is mainly to express the grief of unmet talent.To a large extent,these themes reflect the life and psychological attitude of the people at that time,as well as their deep feelings and thoughts about love,fate and career.The fourth chapter is about the artistic expression and aesthetic style of Chu tunes CI in the Han,Wei and Sixth Dynasties.This chapter mainly discusses two artistic expressions of Chu tunes in terms of imagery and lyrical style.The Chu tunes use the typical wind and water imagery,which contains rich connotations.At the same time,they also used a variety of lyrical styles such as using scenes to express emotions,referring to objects to express emotions,describing emotions directly,and express emotions by comparison.Obviously,they together provided rich creative experience for the writing of later generations of the sadly royal woman’s poems and the poems of the unmarried girls who desire love.The Chu tunes CI in the Han,Wei and Sixth Dynasties present the aesthetic style of "grievance",the formation of this style is due to three reasons: First,the original stories set the tone of grievance;second,the theme of the tunes determine the orientation of grievance;third,the characteristics of the Chu tunes contribute to shape the grievance.In conclusion,we have used literature search,textual reading,thematic interpretation,and aesthetic analysis to study and analyze in some detail the Han,Wei,and Six Dynasties Chu tunes CI from three dimensions: reference,music,and literature.We have tried to make up for the shortcomings of unilateral research from the musical or literary perspectives as much as possible,and to provide more informative insights for the cross-border research of both.