Xiong Penglai

Xiong Penglai

Xiong Penglai was born in Fengcheng County of Yuzhang. He was a Jinshi in 1274. After the death of Song Dynasty, he lived in seclusion and taught Confucianism. He once served as a professor in Fujian and Luling (northeast of Jishui County, Jiangxi Province), "Suozhi, archaeology, Zhuan characters, tune LV, Xie Ge poetry, to promote elegant music, make utensils to determine words, must be ancient style" ("Yuan history · Confucian biography"). He was a famous Confucian and musician at that time.

Life

Xiong Penglai is quite ambitious. Facing the cruel reality of his country's collapse, he is determined to serve his country, but unable to return to heaven. After the death of the Song Dynasty, he refused to be an official in the yuan court. Instead, he was willing to be a professor of the county school. He used his poems to express his feelings. He thinks that the reason why poetry can move people is not only in the lyrics, but also by the "sound" (tune).

Main contributions

He was not satisfied with the "old score of poetry" handed down by the previous generation. In his spare time of teaching, he selected the ancient poems in the book of songs and composed more than 20 new songs. He ordered them to be "new score of poetry" and included them in the book of songs compiled by him. The book recorded the method of Guse in the late Song Dynasty and the early Yuan Dynasty, and provided a lot of music materials for later generations. It is said that the three songs in the book failed to be published and handed down because of the obvious national feelings and "implied the meaning of singing and crying". Thur

He created the music score of the book of songs in order to restore the orthodox status of elegant music. There are six volumes in this collection, including 12 traditional singing scores of the book of songs and 20 music scores of the book of songs created by Xiong himself. Among his existing works, sandalwood, which was originally written by Wei Feng (now Ruicheng, Shanxi), can be regarded as a masterpiece. There are three parts in the whole piece, which are composed of three times of the same tune changes. The tone of the music, indignant and generous, is quite moving. Xiong Penglai once pointed out that a true confidant, a good listener, can hear the "sound of the wheel" of logging from the song "cutting sandalwood".

Other contributions

In addition, his works kaopan and July are also excellent works.

Xiong Penglai is erudite and knowledgeable. He is famous for teaching Zhouli, Yili and Liji. He devoted all his life to writing and lecturing, and wrote Yan Jing Zhi, Wu Jing Shuo, Wei's music score, Jiugong Dacheng North South CI Gong Pu, Se Pu, Xiaoxue Biao, Jia Ji (30 volumes), etc. In addition, Tianyong Anthology (32 volumes) has been handed down. There are seven volumes in wujingshuo, including interpretation of Yi, poetry, Shu, Li, Yue, Chunqiu, shuzhuan, phonology, zhangdie, etc. "Comments on the concise records of Siku Guan" states: "the study of Penglai strictly abides by Zhu Ru (Zhu Xi), so there are many contradictions in ancient meanings and ancient sounds. However, the meaning of his invention is still pure. In the book of rites, the evidence is clear, which is helpful for beginners.

The extant works include cutting sandalwood, kaopan and July, with cutting sandalwood as the representative.

works

In China, the instrument of accompaniment is used to sing the book of songs. Xiong Penglai (1246-1323), a scholar in the late Song Dynasty and early Yuan Dynasty, compiled six volumes. The content includes the introduction of the shape and playing method of Se, 12 old scores of the book of songs and 20 new scores created by him, as well as the score of the sacrificial music of Confucius Temple.

Sutra

There are six volumes in this book. Volume one shows that the harp was a widely used stringed instrument from the pre Qin to the Han Dynasty. In ancient times, there must be Harp in the songs and poems. In order to restore the poetry and music, the harp was made in imitation of the ancient times to accompany the poetry and music. Then it explains the shape and fingering of his twenty-five stringed harp. The second volume is the "old book of poetry", which is taken from the "Twelve elegant book of poetry" of Kaiyuan in Tang Dynasty passed down by Zhao Yansu in Southern Song Dynasty. Volume 3 and volume 4 are the "new score of poetry" created by Xiong Penglai himself. They are composed by the juxtaposition of Lulu character score and gongchi score, with one word and one tone. They are created according to the scale mode of the 28 key system of Yanyue, and express their contents with various changes of melody and mode. For example, the two poems of fatan and Kao, he said, can make "good listeners smell the sound of wheel in fatan and the sound of music in Kao", and achieve better musical effect.

However, in some works, such as July, there are 8 sections of lyrics. In order to understand the ancient theory of "following the moon with the law", the author matches each section of lyrics with different palace tunes, which shows that it is not enough to choose the corresponding palace tunes to form frequent tunes. The fifth volume is the music score of Confucius Temple. Volume 6 is "the record after the Sutra", which collects the words of various schools about the system of Sutra.

Purpose of the work

The purpose of the author is to restore the authenticity of ancient elegant music, which is not practical, so it can not be spread to later generations. However, as a study of the creative practice of ancient musicians, the songs in the new score of poetry are still of certain academic value.

Sepu

Six volumes (Yongle Encyclopedia) --- a summary of the general catalogue of Siku, written by yuan xiongpeng. Peng Lai has the theory of five classics, which has been recorded. It's the gist of the book that singing in the auditorium is just a harp. It's not a harp. It's well known to the ancients

The heaviest. It's not the music of the poem that is abandoned by the sermon. He wrote two chapters of "Se Fu" and invented the theory. According to the ancient meaning, he added new ideas and made it a series. The first one is the melody of the harp, the second one is the sixty tunes of Xuangong, the second one is the popular music of Yalu, the second one is the fingering, and the second one is the old music of poetry. There are twelve chapters in this book, including Lu Ming, Si mu, Huang zhe Hua, Yu Li, Nan You Jia Yu, Nan Shan you Tai, Guan Ju, Ge Qin, Juan Er, que Chao, Cai Yu and Cai Ping, That is to say, the twelve poems of Kaiyuan passed down by Zhao Yansu, followed by the new poem, and all the seventeen poems, such as juanyu, Qi'ao, kaopan, Shuli, Ziyi, fatan, Jianjia, Hengmen, July, jingjingzhe'e, Heming, Baiju, Wenwang, Yi, Songgao, Jimin, and Jue, were written by friends In addition, the second one is yuezhangpu, which lays the foundation for Xuegong's interpretation; in the end, the latter one is se Pu Houlu, which has been used to discuss the language of Se since ancient times. The middle string is a very clear string in the painting of the melody of the serpent, which is empty but not used, refuting the fact that the twenty-five strings in Jiang's painting of the melody of the serpent are all used. According to Nie Chongyi's three rites, Yase has 23 strings, of which 19 strings are commonly used, and the other four strings are called fan. Win, win. Use the twenty-five strings of songse. In addition, Zhuangzi and Huainanzi all have the words of "the twenty-five strings of the drum move", so Jiang's theory has its ancient meaning and can't be fully refuted. All the 60 tunes listed in his Xuangong Tu are based on Cai's Lulu Xinshu. In the twelve palaces, Huang Zhong I and Lin Zhong II in the book of rites justice are used, which are different from those of Huang Zhong I and Da Lu II. In fact, it is not as accurate as Lu Lu Xin Shu. Huang Zhong Gong used seven regular rules. If there was no shooting quotient, it would be one regular half. If there were five changes and a half, it would be two regular half and three variable half. Peng lailie's seven regular rhythms were before Huangzhong palace, but without Sheshang, he didn't write regular changes, half changes and half changes. In his music movement score, he used the method of three harmonies in Tang music, and noted that "if Dalu is a horn, then he would take Zhonglu as the starting point and finish the tune in Dalu. For Taimu, Nanlu qidiao biqu was chosen for Taimu. If Yingzhong is a feather, it will start to tune biqu when Yingzhong takes Yi. " However, it is meaningless for Huang Zhong to be a palace, which is also called "today's Shi Dian meets the gods or only uses Huang Zhong to play a song for the palace". "Huangyou Xinyue Tuji" of Hanfan town said: "the yellow bell is the horn, the Yi is the palace. The horn of the yellow bell, Gu wash for the horn. The twelve temperament is the same as the five tones. And the word "go" in the common sense is that Taimo is called huangzhongshang, Guxi is called huangzhongjiao, Linzhong is called huangzhongzheng, and Nanlu is called huangzhongyu The theory is very clear. Today, because Dalu is the horn, we take Zhonglu as the symbol, Nanlu as the symbol, Yingzhong as the feather, and Yiyi as the symbol. It is the horn of Dalu, the symbol of Taimu, and the feather of Yingzhong, not Dalu as the horn, Taimu as the symbol, and Yingzhong as the feather. As for the palace of Huangzhong, it is the same as the palace of Huangzhong. It is said that Peng Lai not only used the Tang system, but also used the yellow bell to play a song for the palace. Is it not that he was not at ease, but that he was riding on the wall? As in Houlu, Yao was used as a fifteen stringed instrument. It was found in lvlan that it was mistakenly named Yueji, and the memory of it was sparse. However, there are many kinds of music, such as music temperament, music score and so on. At the beginning of the Eastern Jin Dynasty, there were some poems about Huan Yige and Cao Zhi, but few later. Qian Qi said that "twenty five strings play the moon at night" and Li Shangyin said that "Fifty strings of Jin se without reason" are the poems of special poets, which need not be true. The only thing that remains of the ancient tunes is the court meeting in the suburb temple, which is only one kind of elegant music. Friends from the old spectrum put lost, for its research and search, there is still a synopsis. It is said in history that he is proficient in music law, especially good at drumming, which is quite different from the Confucians who don't know palace tune and talk about music theory. The existence of it also shows the legacy of ancient music.

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Chinese PinYin : Xiong Peng Lai