Analysis:

Taoist music is used in sacrificial activities such as celebrating immortals' birthdays, praying for heaven, exorcising ghosts, etc. It is not only ritual music, but also Dojo music. Taoist music is an indispensable part of Taoist ceremonies, which can set off and render the religious atmosphere, and enhance believers' yearning for the immortal world and reverence for immortals.

The early Taoist sacrificial activities are the inheritance and development of the ancient ritual of offering sacrifices to the gods by witches. At first, chanting was direct, and there was no record of using music. The use of Taoist music began in the Southern and Northern Dynasties. According to Shu Wei Shi Lao Zhi, in the second year of Beishenrui (4 15), Kou Qianzhi said that he met an old gentleman on Songshan Mountain and awarded him the position of heavenly teacher. It also gave him a new method of reciting commandments in musical movements, which led to the original Taoist music such as Ode to China and Buxuci. The so-called Ode to China is adapted from the elegant music played by the court in Qin and Han Dynasties. According to the note in the Book of Rites of Yusheng, "China is 3,500 li long, which means it is far away. Today's China is thinking about the True Classics Hall, chanting slowly, crossing the corridor, going to the hall, and finishing. It seems far away. " This is a song sung in the parade before the Taoist ceremony. Bu Xu Ci is mostly a eulogy to immortals, generally a poem of five or seven words, and its length is not limited, depending on the needs of the ceremony. "An Interpretation of Yuefu Ancient Poems" says: "Empty words are Taoist songs." According to the "Different Gardens" written by Liu in the Southern Dynasties, "Chen (Cao Zhi) suddenly heard the sound of chanting in the air, which was clear and clear. Because it was written by the interpreter, it was the voice of the fairy, and it was the voice of the Taoist. " According to "Chao Zhi", "its chapters are all high and immortal, and they all fly in the void, so they are called empty." Named for its rhyme, it is like the ethereal singing of a fairy, and its style is simple. In the Southern Dynasties, maoshan taoist Lu wrote "Giving and Receiving the Secret Treasure of Taishang Cave", and there were also many fill-up words in the French books collected by the orthodox Taoist collection "Dong Xuan Bu Zan Lei" in Ming Dynasty.

The Tang Dynasty was one of the heyday of the development of Taoist music. On one occasion, Tang Gaozong asked the musicians in the palace to make leading notes. Xuanzong once ordered Taoist priests and ministers to worship Taoist songs and personally studied and taught Taoist music. "Biography of Mixed Yuan" Volume 8: "In February, Xin Mao, Yu Caiyu, Wei Zi's Eight Diagrams Dance presented the Taiqing Palace, which is different from the Nine Halls." Volume 54 of Book House Yuan Gui records that in April of Tianbao ten years, the emperor personally taught the Taoist priest to make up the sound. He also ordered Taoist priests Sima Chengzhen and Li Huiyuan to make Zhen Xuan Daoqu and Rhoda Tianqu. What is the assistant minister of the Ministry of Industry? He has the Song of the Holy Way of Ziqing. Zhao Taichang recorded six songs, including Jing Yun, Jiu Zhen, Ji Zi, Cheng Tian, Shun Tianle and Xiao Changshou. Xuanzong wrote his own songs, such as "Song of Calling Immortals to the Truth" and "Song of Sending Immortals to Wei Zi". Taoist music is also mentioned in the poems of poets in the Tang Dynasty. If there is a saying, "Stay in the Yao altar, and hear the sound of it walking in the air"; Xue Tao, a poetess, wrote in the poem "Trying New Clothes and Cutting System", "Long scrolls are funerary wares, and she once put jade and wisdom into practice one by one; Every time I go to a song and dance concert in the palace, I bend over and sing a function word. It can be seen that Daole was popular at that time.

Due to the mobility of Taoist priests in the Tang Dynasty, Taoist music spread from the palace to the people and absorbed many folk tunes, including some Buddhist music and western music. Some of them were renamed and used in Taoist activities, such as Wu Chou renamed Changtao and Mi renamed Rising Sun Dongsheng, all of which were included in Taoist music. At the end of the Tang Dynasty, Zhang Zhu called the Taoist music in the Tang Dynasty "Chen Guang's miscellaneous music, starling's Chongqing dance, and I know something about it." In the late Tang Dynasty and the Five Dynasties, the famous Taoist Du Guangting compiled The Complete Works of Taoist Prizes, which further standardized the Taoist fasting ceremony. At this time, Taoist music has increased from simple percussion instruments such as chimes, chimes and drums to instruments such as blowpipe and plucking.

Song Dynasty is another important period for the development of Taoist music. Song Taizong, Song Zhenzong and Song Huizong created dozens of Taoist music works, such as Buxuci, Huasanci, Baihezan, Jade Qing Yue and Taiqing Yue. In particular, Song Huinai was good at Taoism. Lin Lingsu, a Taoist priest, revised and supplemented the Taoist fasting ceremony, issued 426 copies of The Rites of the Golden Seal Lingbao Dojo, and sent Taoist priests from the National Palace to Beijing to learn Taoist music. The earliest extant Taoist music collection in China, Echoes of Fate, was written in the Northern Song Dynasty. It included 50 poems since the Southern and Northern Dynasties, Sui and Tang Dynasties and the eulogies of Song Zhenzong and Song Huizong by curve notation. The music score is called "twists and turns" in the Records of Han Shu Yi Wen, which is like a song and a sigh, with many interlinings and has the style of Nanqu. At this time, Sixian also joined the ranks of Taoist music, and the accompaniment instruments of Taoist music became more and more complete.

In the Yuan Dynasty, there were two schools of Taoism, Quanzhen and Zhengyi, and there were two different styles of Taoist music. All true ploughing, joy is more beautiful; Taoist music is rich and quaint.

At the beginning of the Ming Dynasty, Zhu Yuanzhang set up Jiao Xuanyuan to govern Taoism in the whole country (later Jiao Xuanyuan was renamed Lu Daosi), ordered to clean up Taoism and ordered Taoist priests to prepare models of fasting, and Taoist music gradually standardized. In the eleventh year of Hongwu in Ming Dynasty (1380), he established "God Optimism", set up positions such as raising points and knowing views, and belonged to Taichang Hall. He is in charge of court sacrificial activities and music and dance students, led by Taoist priests who are proficient in music and dance, and the music and dance students are filled by recruited Taoist children, dressed as full-fledged Taoist priests. Besides the capital, there are musicians and dancers in wuyue who perform for national festivals. Leng Qian, a famous Taoist priest in the early Ming Dynasty, advocated "optimism of God" and set up elegant music. In the 15th year of Hongwu (1382), Zhu Yuanzhang personally decided the next instrument movement, and in Yongle period (1403- 1424), Judy made the Ming Jiao Xuan movement, which was recorded by the "ruler" method, including the altar-chanting movement and the metaphysical movement.

The management of Taoist music in Qing Dynasty basically followed the old system of Ming Dynasty. Dongyue Temple, Gengmiao Temple, Pantao Palace, Temple, Yuemiao Temple and Guanmiao Temple in Beijing are all "optimists", who live with music and dance. They usually wear cassock and live in a temple, but they can get married, and their father and son are hereditary. In case of a court ceremony, I will attend it in the palace. The music played belongs to the court ceremony music, and many musical instruments are used, which are magnificent and cheerful. In the folk, Taoist music is widely integrated with local tunes, forming different Taoist music styles in different places. Daole has embarked on the road of diversification, regionalization and secularization.

Taoist music has a long history and has been passed down for thousands of years. Taoist music has become a wonderful flower of China traditional culture.

Judging from the composition of Taoist music, it contains many nutrients of traditional folk music in China, such as opera, rap, folk songs and instrumental music. Because emperors and court musicians of different dynasties in history have participated in the creation of Taoist music, such as Xuanzong of Tang Dynasty and Chengzu of Ming Dynasty, and created many Taoist songs, Taoist music contains some colors of ancient court music. In ancient times, there were also literati who sang scriptures for Taoism. So, how much literati music remains in Taoist music? . It can be said that Taoist music is a master of China traditional music.

Judging from the function of Taoist music, it is not only an indispensable part of Taoist religious activities, but also an art form that affects the people and teaches. Therefore, Taoist music has many functions such as religion and sociology. As far as Taoism is concerned, Taoist music is the ritual content of Taoist missionary, and it is a special "talk capital" for Taoism to communicate with various immortals. From the outside of Taoism, Taoist music is an art form with appreciation value and social function of cultivating temperament.

Taoist music is divided into two forms, one is "Jing Yun Le" sung by human voice, and the other is "Qupai Le" played by musical instruments. When singing "Jing Yun Qu", it is often accompanied by musical instruments and musical instruments. Due to the different nature and conditions of temples in different places, the number and types of musical instruments used are also different. Generally speaking, there are drums, cymbals, wooden fish, chimes and other musical instruments, and there are sheng, flute, flute, pipe, erhu, pipa, sanxian and so on.