The Study On The "Se Pedigree" By Xiong Penglai

Xiong Penglai’s six volumes of "Se Pedigree",a detailed discussion of Se,citing detailed information about Se’s music in ancient times,including the historical origin of Se,the principles of music lawology,the form of Se,etc.,and expressed his opinion in the form of questions and answers,which is a summary of the words of Se in ancient times.At the same time,Xiong Penglai elevated the "Subject of Se" to the "Subject of Sound and Song" and orchestration musical scores for the "Artworks of Poetry" and the "Interpretation of the Confucian Temple",in order to restore traditional gagaku.This article preliminarily sorts out the literature of Xiong Penglai’s "Se Pedigree",and analyzes it in turn from the parts of Se’s discourse,Se’lawology,Se’s music and other parts according to the catalog order of the original text of "Se Pedigree".After research,it was found that Xiong Penglai set the number of strings as twenty-five strings according to the theories of "Shiben" and "Erya",and divided it into two groups of tone and high octave tone "two averages" with twelve strings eight degrees apart according to Chen Yang’s "Book of Music".The "Sixty Tones of the Spinning Palace" in the "Se Pedigree" is based on Cai Yuanding’s theory of "Sixty Tones" and "Begins with the main note and ends with the main note",and is rearranged in combination with Xiong’s own practical experience of "Good at playing Se",which is more concise after the reform,and is more in line with the reality of the Qin Se Spiral Palace."Old Poetry Pedigree" of "Se Pedigree" based on Zhu Xi’s "Twelve Poetic Pedigree of Fengya" transmitted by "Yilijingzhuangtongjie";based on this,Xiong Penglai further compiled and created the "New Poetry Spectrum".The inclusion of the "Confucius Temple Interpretation music score" in the "" Se Pedigree "" also reflects Xiong Penglai’s "respect for Confucius and Reverence for Confucianism" as a scribe.Finally,through the translation of the score of the "Se Pedigree",it was found that when Xiong Penglai selected the artworks of poetry and the palace tones used,he mainly proceeded from the two angles of "from his musical rhythm" and "because of his physical nature".In terms of music creation techniques,Xiong uses traditional Chinese music composing such as "same head but different tail","changing head but same tail" and "like fish biting tail".Finally,Xiong Penglai also considered the relationship between the lyrics and the ups and downs of the melody,and paid great attention to the use of upper and lower words in the last sentence,that is,"the last sentence rhymes,and the word is different".This fully reflects Xiong’s musical literacy.