A Study On The Music Thought Of Chen Yang’s Yue Shu

Yue Shu,written by Chen Yang in the Northern Song Dynasty,its contents are detailed and abundant in historical materials,which has a good historical value for our current academic research.In recent years,the research results on Yue Shu have become more and more fruitful,which are mainly focused on the Yue Shu itself and Yue Tulun.However,there is no systematic research on the music thought of Chen Yang’s Yue Shu,so that has the great value of further discussion.This paper takes Chen Yang’s Yue Shu and its music thought as the research object,uses the research methods of literature analysis and comparative musicology to sort out and analyze its content,deeply probe into the specific issue of Chen Yang’s music thought in Yue Shu,and discusses the "causes" and "effects" of his music thought in detail,and then draws his views.In order to have a more objective and comprehensive cognition of Chen Yang’s music thought in Yue Shu.The article consists of three parts: introduction,text and conclusion.The text is divided into four chapters:The first chapter,which mainly discusses the background and functional purpose of Chen Yang’s musical thought.As a scholar who devotes to national construction,Chen Yang is greatly influenced by his times.Therefore,starting from the political and cultural ideas of the Northern Song Dynasty,we can have a better understanding of Chen Yang’s writing motivation,which also lays a theoretical foundation for Chen Yang’s music thought.The second chapter,which mainly discusses the music thought of Chen Yang’s Yue Shu.This chapter focuses on the contents of Yue Shu.By analysis,it is found that Chen Yang mostly inherits the music concept of Pre-Qin Confucianism,but the inheritance is not directly,he adjusts it according to the needs of the times,which is also the embodiment of the progress in Chen Yang’s thought.In order to fulfill the grand dream of "governing the country with etiquette and music",Chen Yang draws lessons from the concept of metaphysics to perfect himself,so his music thought can be regarded as the production of "Confucian and metaphysical mixture".The third chapter,which mainly probes into Chen Yang’s attitude towards elegance,exoticism and vulgarity.Chen Yang made a preliminary understanding of the three based on function-advocating elegance and suppressing exoticism and vulgarity,but this concept was not suitable for the reality of the Northern Song Dynasty,so based on the prosperity of citizen music and the change of aesthetic tendency,Chen Yang’s attitude towards exoticism and vulgarity changed from suppression to deprecation.Through the analysis of Chen Yang’s attitude towards the three,we can see that Chen Yang’s music thought is mainly based on Confucianism,but he can adjust according to the actual situation,which once again confirms the progress of Chen Yang’s music thought.The fourth chapter,which mainly discusses the cause and influence of Chen Yang’s musical thought in Yue Shu.Starting from the historical facts,the cause of Chen Yang’s musical thought is not single.His music thought is not only subject to the social environment an that time,but is greatly influenced by his brothers Chen Xiangdao and Wang Pang.As a well-documented music history book,Yue Shu also has a profound impact on later generations.By comparison,we can see that works such as Yu Hai and Wen Xian Tong Kao also inherit his music concept.