The rise of folk music within imperial court music in the North/South Song dynastic succession: Research on the court music of Emperors Huizong,Gaozong and Xiaozong
Date Issued
2009
Date
2009
Author(s)
Hsu, Ming-Chu
Abstract
With the Jingkang disaster and the withdrawal of the court to the South, the dynastic succession between Northern and Southern Song was characterized by the relinquishment of court musical instruments and the faltering of court musical institutions. Within this period, only under Huizong’s reign was ritual music the object of major reforms and grandiose developments; thrift and simplicity defined ritual music in the Southern Song’s early years. Similarly, while there was a radical stance against folk music and an emphasis on elegance and classicism under Huizong in imperial court music, the state of affairs thereafter led to a moderation of these postures. Folk music, which did not suffer from the institutional deliquescence and the loss of court instruments, gained in importance from Gaozong on. The main reasons for the rise of folk music were the North-South spatial reshuffle, the new interactions between the former court elite and the rest of society, and the originally vibrant Song social and cultural life—including music—among the populace.
Subjects
North and South Song dynastic succession
Jingkang disaster, imperial court music
ritual and banquet music
conservatory
folk music
classical music
SDGs
Type
thesis
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