Abstract
This chapter examines the historical evidence of music and music education in Dunhuang during medieval times in China. The researcher summarizes and categorizes the historical documents and discusses their possible connections with music education today. Based on the evidence and analysis, the chapter explores the adaptation of Dunhuang artifacts as curriculum content for music history, as a sociological study of the impact of music, and as examples of multicultural music. In addition, the role of music education in the development and sustainability of cultural heritages is explored. The chapter studies the responsibilities and purposes of music education in the larger social context of cultural transmission and human development.
This chapter is translated and written partially by Xu Di.
This is a preview of subscription content, log in via an institution to check access.
Access this chapter
Tax calculation will be finalised at checkout
Purchases are for personal use only
Notes
- 1.
Dunhuang’s frescoes contain paintings from ten dynasties: Beiliang (北凉, North Liang), Beiwei (北魏, North Wei), Xiwei (西魏, West Wei), Beizhou (北周, North Zhou), Sui (隋), Tang (唐), Five Dynasties (五代), Song (宋), Xixia (西夏, West Xia), and Yuan (元).
- 2.
From the historical records of Chinese conservatories (乐府, yuefu), music departments (乐署, yueshu), offices of music (教坊, jianfang), and operatic troupes (梨园, Liyuan) are all imperial organizations and groups under the court for the purpose of court ceremonies, performances, and rituals.
- 3.
Yayue (雅乐) refers to the traditional music of the Chinese imperial court. It is the music created for special court celebrations and rituals for worshipping Heaven and Earth. The early Chinese Yayue system was developed at the beginning of the West Zhou (1066–771 BC) and became the standardized system according to social and cultural status in official rituals. The Yayue can still be found in Japan and Korea to this date.
- 4.
Please note that the Buddhist mudras in the Dunhuang frescoes are not part of the traditional dance. They have religious and spiritual meaning and implications and are not dance movements.
- 5.
Generally speaking, apsara include the eight demi-gods and demi-devils (天龙八部), heavenly musicians in Indra and Brahma who serve Buddha, and the Bodhisattvas. Narrowly speaking, apsaras are the Gandharva (Gadapo, 乾达婆 in Chinese) and Kinnara (Jinaluo, 紧那罗) and their manifestations in Hindu mythology. The latter two belong to the eight demi-gods.
- 6.
The Silk Road Flower Rain is a large-scale song and dance drama created in 1977 by Gan Su Folk Dance Troupe. It used Dunhuang and the Silk Road as its context and story and showcased Chinese folk song and dance. It has been performed over 1000 times worldwide, with over 1.6 million viewers.
- 7.
The Big Dream Dunhuang is a legendary dance drama that premiered on December 20, 2008. It is a love story between a painter, Mogao, and a general’s daughter, with Dunhuang treasures as its background.
References
Chang, R. X. (1981). Sichouzhilu yu xiyu wenhuayishu (丝绸之路与西域文化艺术, The Silk Road and the Culture and Art of the Western Region). Shanghai: People’s Press.
Chen, Y. S. (1988). Dunhuang yuepu xinjie (敦煌乐谱新解, The New Interpretation of Dunhuang Music Scores). Music Art, 1, 10–17.
Chen, Y. S. (2005). Dunhuangyuepujieyibianzheng, (敦煌乐谱解释辩证, The Interpretation and Verification of Dunhuang Music Scores). Shanghai: Shanghai Music Conservatory Press.
Chen, Y. S. (2010). On Notation of Dunhuang Music Scores (In Chinese). Studies in Culture & Art, (5). Retrieved from http://en.cnki.com.cn/Article_en/CJFDTOTAL-PWHY201005008.htm
Dunhuang Scores. (2018). Early Chinese Music. Retrieved from http://earlychinesemusic.blogspot.com/2017/03/early-chinese-music-resources-tang.html
Ji, X. L. (1996). Dunhuangxue Tulufanxue zai zhongguowenhuashi shanged zuoyong, (敦煌学、吐鲁番学在中国文化史上的地位和作用》, The Place and Function of Dunhuang Study and Turbo Study in Chinese History of Culture). In Collected Works of Ji Xianlin: Chinese Culture & Eastern Culture (Jixianlin wenji, 《季羡林文集》 – 《中国文化与东方文化》) (Vol. 6, pp. 206–213). Nanchang: Jiangxi Education Press.
Liu, R. (2014). Silu duoyuan yinyue wenhua zai Dunhuang bihua zhongde chengxian (丝路多元音乐文化在敦煌壁画中的呈现, The Demonstration of Multicultural Music and Culture of the Silk Road in Dunhuang’s Frescoes). Symphony, 1, 36–41.
Ma, Y. Y. (2016). The Music of Strangers: Yo-Yo Ma and the Silk Road Ensemble. Directed by Morgan Neville.
Ma, Y. Y. (2018). Silkroad. Retrieved from https://www.silkroad.org/
Mogao Cave #445 High Tang (莫高窟 第 445 窟 盛唐, Mogao Grottoes Cave #445 shengtang). (2018). Dunhuang Research Academy. Retrieved from http://tour.dha.ac.cn/content.aspx?id=815574258025
New Creation of the Ancient Music. (2018). Dunhuang Research Academy. Retrieved from http://en.dha.ac.cn/list.aspx?id=237845933242
Revival of Tang Dynasty’s musical instruments in Dunhuang. (2018). The Art Center of Qianjiang Evening Paper. Retrieved from http://blog.sina.com.cn/s/blog_7fd00d5d0101bkwl.html
Sima, Q. (1996). Records of Grand Historian (B. Watson, Trans.). New York: Columbia University Press.
Song, B. N., & Li, Q. (2006). Xiyueyinyueshi (西域音乐史, The History of the Western Region Music). Urumqi: Xinjiang People’s Press.
Treasures of Dunhuang Grottoes. (2002). Hong Kong: Polyspring.
Wang, Y. H. (2006). Zhongguo chuantong yinyue yuepuxue (中国传统音乐乐谱学, The Study of the Musical Scores of Traditional Chinese Music). Fujian Education Press. From https://books.google.com/books?isbn=7533443403
Xiao, X. (2018, August 31). Dunhuang cibeisong – Tan Dun xinchuang quanqiu huobao liangxiang (《敦煌慈悲颂——谭盾新创全球火爆亮相》, Dunhuang Buddha Passion – Tan Dun’s New Opera Global Premier). WeChat: Ganlangudianyiyue (Olive Classic Music). Retrieved from http://www.sohu.com/a/251266633_99893257
Yang, T. C., & Zhang, S. W. (Trans.). (2011). Zhouyi (《周易》, The Book of Change). Beijing: China Press. Retrieved from http://book.sbkk8.com/gudai/yijingshuji/yichuan/
Ye, D. (1982). Dunhuang qupu yianju, (敦煌曲谱研究, The Study of Dunhuang Music Scores). Music Art, 1, 1–13.
Zhang, Y. J. (2018, July 12). Guqu xinchuang yong liuxinyinyue chanshi Dunhuang wenhua (古曲新创 用流行音乐阐释敦煌文化, Recreation of the Ancient Music: Use of Popular Music to Translate and Explain Dunhuang Art). Xinhua Net from www.chinanews.com/cul/2018/07-12/8564478.shtml
Zheng, R. Z. (1988). Dunhuang bihua yueqi fenlei kaolue, (《敦煌壁画乐器分类考略》, Categorization of the Musical Instruments in Dunhuang Frescoes). Dunhuang Studies, 8(4), 10–25.
Zheng, R. Z. (1989). Dunhuang bihua yueji (《敦煌壁画乐伎》 Musicians in Dunhuang Frescoes). Dunhuang Studies, 9(4), 14–24, 33.
Zheng, R. Z. (1997). Dunhuang yuewu bihua de xingsheng, fenqi, hetushi, (敦煌乐舞壁画的形成、分期和图式, The Formation, Period, and Picture Type of Dunhuang Music and Dance Frescoes). Dunhuang Studies, 17(4), 26–39.
Zheng, R. Z. (2002). Dunhuang behua lewu yanjiu, (《敦煌壁画乐舞研究》, The Study of Dunhuang Music and Dance). Gansu: Gansu Education Press.
Author information
Authors and Affiliations
Consortia
Editor information
Editors and Affiliations
Rights and permissions
Copyright information
© 2019 The Author(s)
About this chapter
Cite this chapter
Yu Danhong (余丹红). (2019). Dunhuang and Contemporary Music Education. In: Di, X. (eds) The Dunhuang Grottoes and Global Education. Spirituality, Religion, and Education. Palgrave Macmillan, Cham. https://doi.org/10.1007/978-3-030-13356-6_11
Download citation
DOI: https://doi.org/10.1007/978-3-030-13356-6_11
Published:
Publisher Name: Palgrave Macmillan, Cham
Print ISBN: 978-3-030-13355-9
Online ISBN: 978-3-030-13356-6
eBook Packages: EducationEducation (R0)