The Study On The "Music Record Of Jingshan" By Mao Qiling

"Jingshan Music Record" is also known as "Ancient Music Revival Record".It can be seen that the purpose of Mao Qiling’s book is to revive ancient music.This book is Mao Qiling’s first musical work,composed of two parts: "Music Studies" and "Rhythm Studies".Among them,the part of music studies puts forward five major arguments: "Music does not distinguish between ancient and modern times","Musical instrument is not music","Music book is not music",and "Five parts of character rhyme";The rhythm part mainly focuses on the phonetic order structure of "nine tones and four clear tones",explaining the order of "alternate eight positive and clear tones" and the principle of "changing the palace behind the palace and changing the signs after the symbol".By sorting out the text and entries in Mao Qiling’s "Jingshan Music Record",the author summarizes the whole book into three parts for theoretical explanation,namely,"On Music","Generations between Eight Zhengs and the Qing Dynasty",and "Flute Color".After research,it was found that in the "On Music" section,Mao Qiling took the feasibility of music theory in practice as its academic standard,proposing to take the human voice as the basis of music,and completely negating traditional theories such as the examination of numbers and the integration of music and calendar.In the arrangement of "nine tones and four clear tones",Mao Qiling substituted "eight tones apart" for "eight rhythms apart",resulting in the sound order structure of "eight positive and clear tones apart",which led to the creation of the musical arrangement order of "changing the palace behind the palace and changing the features after the symbol".In his argument,a theory is limited to his personal practice of flute color and cannot be adapted to common music theories.In the "Flute Color" section,Mao Qiling denied the theory of "Qi Diao Bi Qu",pointed out the crux of the theory of "Qi Diao Bi Qu",and proposed the concept of "leading tone".Although many of Mao Qiling’s viewpoints on music rhythm have limitations and even errors,it is undeniable that Mao Qiling’s music theory still has its positive significance.On the one hand,his research partially reflects a trend in the study of music rhythm in the Qing Dynasty,which can provide us with reference for the study of the history of music rhythm in the Qing Dynasty;On the other hand,his research perspective and path based on practice have a certain inspiration for those scholars who are poor in economics and Haoshou,and are only immersed in theoretical research.