Based on previous studies (particularly the findings and methods derived from archaeology, ethnology, the study of temperament, organology and acoustics), this dissertation endeavours to conduct a thorough and systematic investigation of the music culture surrounding the Chinese end-blown flute dongxiao. The present study is divided into five chapters. In the first chapter, the historical development of the dong xiao family of flutes in China is discussed. Relying on iconography, this section analyses the Chinese dong xiao flutes that appear in both literary and archaeological sources. The author argues that all types of end-blown flutes assumed a standardised morphology during the Han dynasty. By the time of the Wei Jin dynasties, five-holed dong xiao flutes of previous dynasties had developed into a six-holed type similar to today's dong xiao. As a result of the Tang dynasty's contacts with the surrounding countries and peoples, the Chinese dong xiao acquired an international character. The second chapter investigates the structure of the Chinese dong xiao flutes. The discussion deals with the morphological aspects of the instruments, but also strives to describe and understand systematically the organisation of the instrumental ensembles in which they appear, and the diffusion of music for dong xiao. Through fieldwork and an analysis of literary sources, this part of the study describes the various ensembles of which dong xiao flutes were part through history and compares them with their modem counterparts. Moreover, a collection and arrangement of musical scores and music for dong xiao flutes is offered. The third chapter discusses the formal constituents of music for dong xiao flutes. First, a thorough overview of the modal system of dong xiao flutes is carried out from a diachronic perspective. Then, this chapter continues with an analysis of the main artistic traits of dong xiao flute as they appear in the 'Silk and Bamboo' (Jiangnan sizhu) and 'Fujian nanyiri instrumental ensembles. The author argues that "the three modes on the di flute" (di shang son diao) is the earliest dongxiao modal system to appear in literary sources. The social and cultural background of dong xiao flutes constitutes the topic of the fourth chapter. Moving from the perspective of cultural anthropology and ethnomusicology, this part of the dissertation describes both the historical use and social function of the dong xiao flutes in different eras. The discussion touches upon the Buddhist, Daoist and Shaman religious milieu, the Confucian and scholarly circles, the calendric celebrations, folk weddings and funeral rituals, as well as entertainment and stage performances. This discussion of the significance and usage of dong xiao flutes in various social and cultural backgrounds underscores the importance of this type of instrument in Chinese culture. The fifth chapter outlines the influence of the Chinese dong xiao musical culture on the rest of the world. A comparative approach allows the author to investigate and identify the influence of Chinese forms on the music of the Korean and Japanese dong xiao. By drawing parallels between the Lion Dance Music performed by wandering "lion troupes" of Bukcheong in Korea and the music Lion found in the scores for di flute of Japanese Gigaku, and between Meihuacao (one pu instrumental suite from 'Fujian Nanyiri) and Yangchenghvtanyip (a piece derived from the Korean Boheoja), the author endeavours to discuss the exchanges in the music for dong xiao that occurred among China, Korea and Japan. In the final part the author summarises the peculiarities of dong xiao music culture. The dong xiao family of flutes and the music associated with them form an integral part of Chinese culture since, in the course of its evolution as a type of musical instrument, the dong xiao was influenced by a wide variety of Chinese musical traditions. In addition, the modal system of Chinese music (guanlu) has achieved an important development in the music for dongxiao. Finally, the dongxiao family of flu
【关键词 (中文/英文)】 洞箫; 洞箫类乐器; 笛上三调; 江南丝竹; 福建南音; 社会文化功能; 音乐文化交流 Dong xiao flutes; Dong xiao family of flutes; Jiangnan sizhu; Fujian nanyin; Chinese social culture; Music culture exchange
