On Musical Forms —— One of Presentation of the Social Ideology〔*〕

Lei Qian

(School of Music Shaanxi Normal University，Xi’an Shaanxi710062)

Ⅰ.Conno tation and form

The regional music of China boasts distinct national ideology with local characteristics.China’s musical ideology is undoubtedly a proposition of sociological category.Besides the above-mentioned historical research background，Chinese music has gradually got rid of the open and diversified pop music and begun to form the classic musical form of Chinese ideology.Therefore，Chinese rites and music boast integrated nationality，contemporaneity and concordance，which require the research on the connotation and form of Chinese musical ideology.

The transformation of musical form aesthetics from traditional rites and music to modern Chinese music ideology represents national image and music aesthetics of Chinese people.The regionalism of musical form gives modern nation legal connotation.Meanwhile，the modern ideology of China has experienced the complex evolution of modern pop music and developed towards the large pattern of musical ideology.Musical culture has become an ideology of national music so that both Confucianism and Taoism regard music as important content of ontology.

Ⅱ.Theoretical analysis

The Chinese“Book of Music”has been called the classical with the earliest record of“six dances accompanied by music of dynasties”.In terms of the system of The Book of Songs，there has gradually formed a mode of music combined with playing instrument and chanting.Confucianism considers music，archery，mathematics，ritual，chariot-riding and calligraphy as the Six Arts of ancient China and establishes the broad system of each art.Combined with the six classical works of China，namely Odes，History，Changes，Spring and Autumn，Rituals and Music，ideological model of self cultivation，family harmony，country management and world peace has been formed.In the traditional Chinese moral system，music is an important content，which is a unique ontology，namely rituals and customs form of regional music.

How can music move and change people belongs to complex specialized knowledge in western aesthetics.However，there is no such system in Chinese music，and instead，it has gradually evolved into an ethnic ideology.Therefore，social mentality，as the feature of Chinese culture，has evolved into the basic mode of Chinese education，economy，politics and society.There is no legal principle in ancient China，but there is perfect system of rites and music，which establishes the analytical mode of music of Confucianism.Confucius and Six Arts are both basic construction concerning culture ontology，which can be called a comprehensive organization of former studies by Confucius.Finally，image has become the natural realm of music.This emotional stage began in the Wei and Jin Dynasties，when the clan music prevailed.Clan feelings have become a musical form，such as Autumn Moon Over Han Palace，Lofty Mountains and Flowing Water，The Moon over a Fountain，Wild Geese Alighting on Sand and The Spring Snow.The essence of classical music form is reflected in the rhyme of humanity，life and natural sound of universe.

According to the above analysis of music form，there is a“blind spot”of“modern theory”between the musical theory and music form:music is studied as auditory art form，and how can the human sound，instrumental performance and complex media evolution possess the characters of musical form and function of image expression?If so，musical form is not only a visionary theory，but has specific surface features.However，the research on musical form has not yet found the character of music，work，or carrier which serves as an effective musical tool in humanity development，cultural i-dentity，clan indoctrination and universe indoctrination.Nevertheless，the musical theory of ancient Chinese culture is by no means an academic theory perceived by someone.In Chinese history，the proposition of Confucian classics studies over thousands of years，including the proposition of musical form，cannot be individual language product.Hence，from the modern cultural perspective，we find that there is a“blind spot”of ideology of artistic proposition between the modern musical theory and the exploration of human spirit.

Ⅲ.Life and society:the musical form of the modern ideology

As is known to all，the musical form system of Chinese modern music，as the modern basis of Chinese musical art，has fulfilled the modern transformation.China has no cultural basis of video art，experimental film and MTV，but inherits the realistic image spirit of real human culture.The social ontology spirit still inherits the cultural ideal of Confucius.Our artists have not directly experimented on the reform of western musical technology，but focuses on how to advocate our own essence.The so-called“wind，flower，snow and moon”is the modern cultural pursuit of music.The musical ideology cooperates with musical form，which is based on human life.It can be summarized that the modern ideology is a true proposition.Therefore，musical rites and customs on the basis of satisfactory life has been raised in Confucius’s discussion with his disciples，which has cultural connotation of basic necessities and has been bestowed with ritual musical thoughts of true human value.The rites and music of Confucianism is a breakthrough of critical interpretation of ancient classical texts.Then modern ideology of Chinese music should be attributed to the group of composers with traditional cultural deposits in modern China.Zhao Yuanren and Liu Bannong imitated the modern musical from，which established the aesthetic foundation of Chinese musical education created by Xiao Youmei and Cai Yuanpei.Therefore，we can further deduce that modern musical thoughts have bestowed artistic form a current social civilization.Chinese modern musicians have jumped out of the proposition of modal game，and identified the artistic image from the perspective of reasonable life.Of course，this identification itself is classical“Chinese music”.

First of all，the clan ideology of Chinese musical form has developed from the clan ideology of dance accompanied by music.The esthetical meaning of all arts and literature is a modal esthetics as well as the nature of mode.The“theory of form”is not totally same as formalistic aesthetics because it is believed that realism and historical materialism is between the current self cognition and future development of self expectation.Art is just a virtual current moment，and the exploration of contemporary time and future is our artistic ontology，which means that art is a mirror of oneself，and the one in the mirror is the admiration of oneself.Therefore，“form”is a cognition image of reality.Abundant folk music has been accumulated by the spread and inherit-ance of folk artists，which gains a mutual feeling for Chinese art.That is to say，Chinese folk music belongs to social ideology，which is an expansion of crowd consciousness.Therefore，it can be understood that rites and music emphasize silent sounds of nature，and that artistic form has become vague when people begin to express themselves.

Secondly，the development from rites and music to new national customs indicates the new national musical ideology.The transition of national music represents the transition of musical ideology.The instrumental subjective effect and the change of shape and structure of ideology are the outcome of social productivity and the development of aesthetic idea.However，despite that the connotation of music is the same;the propositions of musical art are totally different because of the different propositions of human.It is said that no matter how human culture evolve，musical culture which nurtures people has its perceptive basic mode.The research on the specialized field is bound to be based on moral cognition.Cultural cognition is the foundation of all techniques.The rites of Confucianism stress the rules of former emperors and ancestors，which leads to the moderation and harmony of musical propositions.The study on nature of Taoism emphasizes the return of human nature，and the natural sounds are bound to depict the scene of human self.With the entry of Chinese culture into contemporary，the proposition of human has experienced a cultural process of amplification，promotion and integration in the exploration of humanity，among which the exploration of music form in the folk has been gradually elevated to the integration of modern western culture.Therefore，the“image”of the Chinese nation has arisen.Apparently，the exploration of musical form is a specialized theoretical form which expresses musical art in the most direct way.

The current Chinese ideology needs the shape of musical form so as to realize the ideal of cultural renaissance.Therefore，despite that music can be recreated for the sake of musical performance，not all musical performance can be called the deduction of musical form.The essence of Chinese music is still by nature the musical form，which has learnt from western music.Although we are at the age of electronic audio，it is no more than the cultural transformation of the modern audio age n the sense of form，which is conducive to the copy and writing of music.In one word，music has totally transformed the culture of“sound”into the“form”of musical expression.However，the traditional musical form is still the major carrier of music.As a result，the integration of this system constitutes the basic academic work of the connotation of musical form in Chinese culture.

Therefore，based on the realistic life and social labor，our inherence of musical form expresses a positive social character.Modern musical ideology is founded on the basis of the main body of music，namely human，and strongly objects the drift of main body，namely pop music.Musical form is the expansion of current human，and the final outcome is rites and music，which involves how to get rid of current constraint in terms of virtual form in the modern ideology of Chinese artistic field.We believe that musical form is a current identification and image is one type of“mentality”which is incepted in the change of time.The musical form of“wind，flower，snow and moon”on modern China represents the returning of humanity.Therefore，musical form and animating both include the meaning of“l(fā)ife-giving”.As the saying goes that“drama is like life”，musical form can be seen as a method to revive the lifeless image，which is a comprehensive category and a product of the pursuit of mental freedom in the industrial society.As a result，Chinese musical form can be widely applied and there are many artists who still strive to express the traditional Chinese musical form by integrating various artistic categories，such as painting，cartoon，movie，digital media，photography，music and literature chant.

Ⅳ.Conclusion

In one word，the art centering on object，space，concept and video art has arisen in contemporary world.Graphic art has won people’s recognition by adopting image capture，thus，when it comes to the current“image”and future exploration，the space of human and the space of image constitute a theoretical basis of“inter-subjectivity”of“dream”.In order to break the reproduction of humans by culture and limit of the localization of regional space，the discussions of Zhuang Zhou of ancient China and modern European and American art have something to do with the concept of inter-subjectivity proposed by Germany scholar Jurgen Habermas in his Theoriecommunicationnelle.However，in terms of art forms，the current expansion of image is the current situation of humans，which means how the image of dream turns into reality in the mechanism of the real reproduction of social culture.Therefore，painting，sculpture，color and line have got spirit and embodied the current musical ideology.

Notes:

〔1〕R.C.S.Walker，Theories of Truth(in A Companion to the Philosophy of Language，Bob Hale ＆ C.Wright ed.，Blackwell，1997，pp.309-330)，pp.318-319.

〔2〕張靜遠(yuǎn):《論先秦至漢代國樂器材的傳承與風(fēng)韻》，《時代文學(xué)(下半月)》2008年第1期。

〔3〕G.Frege，Collected Papers on Mathematics，Logic，and Philosophy，Brian McGuinness ed.，Blackwell，1984，p.353.

〔4〕L.Wittgenstein，Tractatus Logico-Philosophicus，Trans.C.K.Ogden，with an intro.by Bertrand Russell，Routledge ＆ Kegan Paul Ltd，1955，p.31 注.

〔5〕Cora Diamond，Truth before Tarski:After Sluga，after Ricketts，after Geach，after Goldfarb，Hylton，F(xiàn)loyd，and Van Heijenoort，F(xiàn)rom Frege to Wittgenstein:Perspectives on Early Analytic Philosophy，edited by Erich H.Reck，Oxford，2002，pp.252-282，263.

〔6〕P.Geach，Truth and God，Proceedings of the Aristotelian Society，suppl，vol.56，pp.83-97，1982，p.90.