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中国民乐发展的三个时期(Three periods of the development of Chinese folk music)
中国民乐发展的三个时期(Three periods of the development of Chinese folk music)
The three period Chinese folk music development
1., the formation period of Chinese traditional music (about twenty-first Century BC to third Century AD)
This period includes from Xia Dynasty, Shang Dynasty, Western Zhou Dynasty to the spring and Autumn period, the Warring States period and the Han dynasty. In music genre, it has experienced the evolution from primitive music to courtly music and dance. In the melody, form scale, experienced by the original music attention mistress interval tone, to the spring and autumn stressed palace, business, features, the big feather below 3 degrees (Fu Ye), who system, three profit, seven, twelve and fifth sound law. The preliminary establishment of the five acoustic characteristics of Chinese traditional music rotation method. In music aesthetics, the pre Qin debate all classes of authors has laid a theoretical, then their theory of endpoint. During this period, the most representative musical art form is the visual band.
2. new period of Chinese traditional music (circa fourth Century ad tenth Century)
This period includes the period from Wei, Jin, southern and Northern Dynasties to Sui and Tang dynasties. Wei, Jin, northern and Southern Dynasties period of political unrest and people in the north south, minority transfer, to China traditional music: one is the impact of metaphysics on the impact of Confucianism, caused by the change of music thought; the two is the incoming minority music and foreign music, the introduction of new instruments, music, music and factors the theory of music. The impact of the results, is to make China traditional music changed, created a music international Xinle wind generation. On the one hand is the world music China, including foreign music Chinese, using foreign instruments, incoming foreign music, the band of foreign nationality, as well as the foreign music human development made by Chinese music contribution. On the o
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