I have only read Mr. Huang's "Tracing to the Source-A Study of China Traditional Music", which is relatively easy to find and available in Peking University Library; But if you want to read more about music, it's a bit difficult in Peking University Library. At that time, I was deeply impressed by Mr. Huang's knowledge and really wanted to read the complete works of Mr. Huang. Later, I saw the advertisement of Xiang Peng Huang Wencun in China Musicology, and I was overjoyed and thought that the opportunity had come. It's a pity that this book has been searched in bookstores in Beijing and Jinan, and it has never been sold, including the distribution department of the publishing house, only to know that it is estimated that the Music Research Institute has taken back all the sample books. So I called the Conservatory of Music and kept calling during office hours for a month. No one answered, and I was completely disappointed. Things didn't go against people's wishes. By chance, a Shandong classmate helped him find a classmate who works in Qilu Bookstore. This friend happens to have a friend of Shandong literature and art, and this friend of Shandong literature and art happens to be an editor. My friends were very enthusiastic to help me, so I got the Xiang Peng Huang Wencun that I had been longing for for for a long time. In the study of traditional music, I am a monk halfway, and getting close to the master is a shortcut; Of course, it also includes the descendants of the master, so later I read all kinds of works by Mr. Wang's disciple and wrote to ask Mr. Wang. Lewen was published in journal of the central conservatory of music, and I downloaded, printed and bound a volume on the periodical website, with many traces of my reading. I won't publish books on Douban, but I can only post some ready-made introductions below Lewen: Xiang Peng Huang Wencun (Volume I) Publishing House: Shandong Literature and Art Book Author: Music Institute of China Academy of Art Editor's Size: 1933 Pages: 1997 at 3: 05 a.m., a famous music historian in China, a researcher and doctoral tutor of China traditional music before his death, an executive director of China Musicians Association, and a national music tutor. Mr. Xiang Peng Huang was born in Nanjing on February 26th, 1927. When I was a teenager, I joined the "Unity and Salvation Association" in my hometown and engaged in anti-Japanese activities. August 1945 Joined China * * * Production Party. 1February, 947, according to the arrangement of the underground party organization, he graduated from the Physics Department of Jinling University and was admitted to the Theoretical Composition Department of Nanjing National Conservatory of Music. 65438-0950 transferred to the Theoretical Composition Department of the Central Conservatory of Music. 1952 after graduation, he stayed at his alma mater as a teaching assistant in the department of composition and deputy director of the juvenile class. 1958 transferred to the Conservatory of Music. 1980- 1985 served as the director of the music history research office of the Music Institute of the Chinese Academy of Art, 1985 served as the director until 1988 left office. Mr. Xiang Peng Huang devoted his whole life to the study of China traditional music and China music history. He is one of the most outstanding scholars in the field of music in China today, and an academic leader in the field of music in China after Mr. Liu Yin in Bai Yang. Due to well-known historical reasons, it was not until he was 5 1 year old (1978) that he began to publish academic articles under his own name. However, if you don't send it, you will. If you don't sing, you will be surprised. Until 1995, he was bedridden and couldn't work for 16 years. He published nearly one million words of works (some of which were selected into three collections: Tradition is a River, Tracing to the Source, and Music and Musicology of China People). Most of his research and works have become the latest breakthrough achievements in the research field of traditional music and ancient history. 1984, in order to commemorate the 400th anniversary of the publication of Zhu Zaikun's New Theory of Legalists, he wrote the following words in the long article "The Historical Achievements of Legalists and Their Ideological Enlightenment": "Those who have made achievements in culture will only have their knowledge rooted, and they will have their exhibition; As the key to control intelligence, it is "knowledge". It is his outstanding insight and insight that guides and makes Zhu Zaijing's study useful and useful. " This is not only the historical knowledge he gained from the learned personality of the sages, but also the goal he set for his academic life. It is not only the inscription he carved on the monument of the sages, but also the epitaph returned to him by history. Today, we mourn the teacher, admire his knowledge, miss his talent and virtue, and can't help but feel infinite emotion in our hearts. A thorough and systematic study of his academic thoughts and contributions and a comprehensive and accurate historical evaluation will undoubtedly become a research topic in the future music field. This paper inherits the teacher's legacy and briefly covers nine fields to show his academic achievements. The Burning Rhino-Musician Xiang Peng Huang and His Academic Career I. Tradition is a river. The preface of Ching Tien's History of Ancient Music in China witnessed the brilliant creation of ancient music —— On the new field of ancient musical instruments research in Zeng Houyi's tomb. Electronic information processing of music data. The pre-Qin bell reverberates around the beam, and the Shanxi ancient tune knows that it is impossible to do it —— Random thoughts on elegant music in the concert of Voice of China in China Music Dictionary is not the mainstream of China music tradition. On Zhong Qing's Reproduction —— A researcher of China Music History who is willing to work hard on the spot —— Poetic feelings of cultural history written on the front page of Yuan Qu Research —— Preface of Zhu Zaiyu, a scientific and artistic superstar in Ming Dynasty —— People's word of mouth —— Puzzlement in the creation of national instrumental music in the prefaces of Zhu Zaiyu's Legend and Fujian Nanyin —— Excerpted from Gao Hu's Concerto Yunzhou Xiyi. On the Inheritance of Ancient Music in China —— Revolutionary Martyr, one of the theories of music history, the comrade-in-arms of musician Laura Mai mourned the past, but loved others. Today, we can think like this-in memory of Mr. Yang and China's ethnomusicology. The "Poetry Revolution" and "School Songs" in the late Qing Dynasty, the May 4th New Culture Movement and new songs. The lyrics of new poems in urban music life after the May 4th Movement are a new fusion of the tradition of workers and peasants as the main body and national liberation songs. Tracing back to the source —— The research on traditional music in Neolithic and Bronze Age in China and the brilliant creation of music culture in pre-Qin Dynasty —— Interpreting the ancient musical instruments in the tomb of Zeng Houyi —— Viewing Chu culture from the mode of Ceng Houyi's Xingtian (Zhu Wei) —— Bell's musical analysis of the two-syllable names and names recorded by the music department —— the historical stage in pre-Qin period. The Rhythm of the Moon and the Music System of the Inscriptions of the Left and Right Handers —— A Study of Eight Tones (I) —— A Study of Eight Tones and "Ying" and "He" Tones (II) Looking at the name and reality of "Eight Musics" in the Sui Dynasty from the West Palace —— A Record of Yang's Study on the History of China Ancient Music —— A Scientific Heritage with National Cultural Characteristics —— The Role of Music Archaeology in the Study of National Musical Form —— The Great Achievements and Enlightenment in the Study of Qin Law —— In Memory of Zhu Zaiyu's "The Music and Musicology of China People" —— China People's Thought, Style and Style. The preface of the Japanese Translation of the History of Ancient Music in China calls for research. The preface of the column "Collection and Experience of Traditional Music in China" The preface of "A Preliminary Study on the Legacy of Huyilifang in the Song Dynasty" attaches importance to basic research and cultivates reserve talents —— Written speech at the symposium on academic planning —— Ten-year progress in the study of Zhong Qing's Ci in Ceng Houyi, music and law —— 1988 Preface to Zeng Houyi's collection of studies on chimes in the China Bell International Symposium "Looking for the South from the North —— A guess of the historical mystery of orchestral music" The high cultural nature of China traditional music and two examples of Chu ancient music. The collection of folk songs in China is a great pioneering work in the cultural history, and the legacy of the eastward spread of The Warrior Lan Ling Entering the Array is a fortune —— the remnants of Qiuci's Dancing Spring Breeze in the Northern Song Dynasty, and the musicology turmoil in the new school trend of thought —— The essay Seminar on the 20th Century National Music Thought commemorating the centenary of Mr. Wang Guangqi's birth begins with the opening speech "Understanding" and people's ability to recognize sounds ——— Several things related to the Chinese culture. A Unique Historical Theory of a Nanyin Singer —— Preface to Ancient Music in the Central Plains of Hubei Province —— A study on the sound measurement of eight Hu Gu flutes in Wuyang in the late Ming Dynasty —— A study on five stringed instruments in the tomb of Zeng Houyi "China Music Cultural Relics Series" (data compilation, Preface: The Influence of Mindfulness —— Remember my teacher, Comrade Lu Ji ... I miss Comrade Li's Biography of Selected Music of Yang Jinxiang, Catalogue of China Music Recordings, Letter from Honorable Paver-Huang's National Mode and Harmony Order, and Comrade Li's reply to Comrade Cai Jizhou's preface to the report on the sound measurement of Xinjiang Uygur music's music rules and modes. Preface 4 of Dai Nianzu's Basic Acoustics. Music and Music —— One hundred puzzles of China's traditional music in past dynasties are "Nine Songs, Eight Styles, Seven Tones and Six Rhythms". There are Five Tones —— Explaining the concept of harmony in Lewen/B in the pre-Qin period —— Explaining the appellation of key signature and Wei Tone in Lewen and their terminologies —— The origin of 19th Interpretation of Lewen —— The secret of 20th Interpretation of Lewen —— 22nd Interpretation of Lewen —— Yuanfeng Centennial Chinese University of Technology A New Problem: Mathematical Logic of China's Traditional Tone: Seven Temperaments Set the Average Five Temperaments Set the Oriental Ears —— The First Discovery and Significance of the Qin and Han Harmony Instrument Zhu in the Twenty-six Academic Letters of Zaza's Middle Finger and Arabic Law. 5. The realistic problems reported by several "music events" in unedited literary theory-also answering the national music work and its problems in the process of Sun Jun's four modernizations (Abstract) A prize that came too late established our own "basic music theory"-in which year did Zhu Zaiwen establish the twelve-average law in "China Traditional Music 180 Preface"? Answer Liang Rui of Ningxia Institute of Education's remarks on social life in Tang and Song Dynasties, historical origins and laws, tunes, scores and instruments-Preface to Complete Works of Drum Music, Preface to Ceng Houyi's Notes on Chimes and Their Statutes, and Inscription "Buried Treasures in Errentai Music" in Sketch of Gongpu in Jiugong Dacheng, Ding Xin. Tentative ideas on the genre research of national music: how to confirm the true vowels in Sanqu of Jiugong Dacheng Yuan, the case analysis of national instrumental music and the characterization of Gongdiao VI. Dictionary entries include China Yihai, China Encyclopedia of Music and Dance (China Encyclopedia Publishing House, 1 April, 989,1edition), China Encyclopedia of Physics (signed by Xiang Peng Huang and Dai Nianzu), China Music Dictionary and China Music Dictionary (continued).