Sizhu Instrumental Music Of South China: Ethos, Theory And Practice

Sizhu Instrumental Music of South China Sinica Leidensia Edited by Barend J. ter Haar In co-operation with P.K. Bol, D.R. Knechtges, E.S. Rawski, W.L. Idema, E. Zürcher, H.T. Zurndorfer VOLUME 84 Sizhu Instrumental Music of South China Ethos, Theory and Practice By Alan R. Thrasher LEIDEN • BOSTON 2008 On the cover: Hakka qingyue ensemble, Guangzhou. Photo: A. Thrasher, 1986. This book is printed on acid-free paper. Library of Congress Cataloging-in-Publication Data A C.I.P. record for this book is available from the Library of Congress ISSN 0169-9563 ISBN 978 90 04 16500 7 Copyright 2008 by Koninklijke Brill NV, Leiden, The Netherlands. Koninklijke Brill NV incorporates the imprints Brill, Hotei Publishing, IDC Publishers, Martinus Nijhoff Publishers and VSP. All rights reserved. No part of this publication may be reproduced, translated, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without prior written permission from the publisher. Authorization to photocopy items for internal or personal use is granted by Brill provided that the appropriate fees are paid directly to The Copyright Clearance Center, 222 Rosewood Drive, Suite 910, Danvers, MA 01923, USA. Fees are subject to change. printed in the netherlands For Huang Jinpei, scholar, mentor and friend CONTENTS Preface ......................................................................................... Conventions ................................................................................ Acknowledgments ....................................................................... ix xv xvii Chapter One Sizhu Music in South China ............................. Music Categories: Sizhu as a Domain .................................... Music Cultures of South China ............................................. Social Perspectives .................................................................. 1 2 6 21 Chapter Two Yuelun: the Confucian Foundation ..................... Confucian Ideology ................................................................ Government Theory and Music ............................................ Other Trends .......................................................................... 25 25 37 44 Chapter Three Qingshang Music and the Historic Legacy ...... The Ancient Heritage ............................................................. The Eclectic Tang .................................................................. Emergence of the Common-practice Traditions ................... 53 54 61 65 Chapter Four Yuelü: Music Theory and Practice .................... Chinese Melody ...................................................................... Pitch Systems and Notation ................................................... Mode in Southern Music ....................................................... 75 75 83 95 Chapter Five Baban and the Sizhu Repertoire ......................... Sizhu Repertoire ...................................................................... The ‘Variation’ Ideal in Compositional Practice ................... The Suite Forms ..................................................................... 113 113 124 136 Chapter Six Bianzou: Performance Practice and Aesthetics ... ‘Variation’ in Performance Practice ....................................... Performance Varia