清宫廷吉礼用乐研究.pdf

RESEARCH ON QING IMPERIAL COURT AUSPICIOUS
RITUAL MUSIC
Abstract
This paper used the Qing Dynasty Imperial court ritual music system as the starting
point, focused on the specific contents of the Qing Dynasty Imperial court ritual music,
and then explored the characteristics of the Qing Dynasty Imperial court ritual music.
Firstly, the exploration of the traditional ritual music explained the profound meaning
of both rites and music: the conclusions are as follows “Ritual is a kind of norm”, “Music
is the expression of human emotions”. The paper explored from the aesthetic perspective
of the ritual music culture construction and the ritual culture found out that the aesthetic
perspective of the ritual music culture is due to the pursuit of harmony, but the aesthetic in
the ritual music represents harmony between sounds, harmony between men, and
harmony between heaven and man.
Secondly, it is about the exploration of the Qing Dynasty Imperial court ritual music
culture. In the Qing imperial shamanic ritual music the melody of God’s song has the
original hearing aesthetic tendencies; its artistic expression methods with God drum
rhythm is a way to contribute to the harmony between music and man. And the Shaman
divine words and ritual activities are designed to achieve the realm in which God and man
can find the perfect harmony in the music atmosphere. On the other hand, in the Qing
imperial palace Shao music system and in the context of glorious music and its band
practice as well as the inherent meaning, possess the characteristics of the "eight sounds
harmony" internal and external harmony; their a word a sound play, the characteristics of
concert under specific ritual context, can fit with man’s psychology; as a result can
achieve the harmony between music and man; can eventually reach the music realm of
heaven and man’s harmony through the display of music and dance.
Thirdly, it is about the exploration of th