Based on the geographical distribution of the unearthed musical instruments and their archaeo-cultural considerations, I first examine musical cultures of the Shang and Zhou dynasties in the seven-regions of Central Plain, Northwest, North, East, Southwest, South, and Southeast, each of which showed affinity to some particular political unit (state), ethnicity and social organization of the archaeological culture. Through regional and cross-regional analysis of the shape, composite and musical features of the instruments and their contemporary cultural significance, I argue that the Shang and Zhou musical cultures were primarily originated and developed in multiple cultural contexts along the Yellow River and Yangtse River areas. Among the seven regions, the Central Plain region occupied a dominant position. The other regions of musical culture developed independently but maintained close cultural interaction with the Central Plain region. / Lastly, I discuss the ritual-music function of the instruments in the formation of ritual-music system, the condition of the owners and players of the instruments, and the compositive set of ritual bronze vessels and instruments. I conclude that the social function of musical instruments in the Shang and Zhou dynasties had actually gone beyond music performance itself. They had functions of performing music, executing sacrifice, and symbolizing the socio-political status and ranks of individuals. / This dissertation is an archaeo-musicological study on unearthed musical instruments of the Shang (1600 B.C.--1046 B.C.) and Western Zhou (1046 B.C.--771 B.C.) dynasties in China. Using the unearthed musical instruments in conjunction with other related archaeological findings and ancient Chinese documents, I discuss issues relating to the multi-structure and social function of these instruments within their socio-historical contexts. / Using the textual information from oracle bone inscriptions, bronze inscriptions, and Chinese classical texts, I explore the functions of the unearthed musical instruments in terms of sacrificial activities and the Liyue (ritual-music) system. I identify four types of excavation (dwellings, sacrificial pits, hoards, and tombs) to elucidate the relationship between sacrificial activities and musical instruments. I then discuss the metaphor of the instruments' decorations and the use of instruments in the ritual activities such as praying for rain and ancestral cult. / 方建軍. / 論文(哲學博士)--香港中文大學, 2005. / 參考文獻(p. 277-316). / Adviser: Tsao Poon Yee. / Source: Dissertation Abstracts International, Volume: 67-07, Section: A, page: 2380. / Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Electronic reproduction. [Ann Arbor, MI] : ProQuest Information and Learning, [200-] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Abstracts also in English. / School code: 1307. / Lun wen (Zhe xue bo shi)--Xianggang Zhong wen da xue, 2005. / Can kao wen xian (p. 277-316). / Fang Jianjun.
| Identifer | oai:union.ndltd.org:cuhk.edu.hk/oai:cuhk-dr:cuhk_343640 |
| Date | January 2005 |
| Contributors | 方建軍 , 1962-, Chinese University of Hong Kong Graduate School. Division of Music., Fang, Jianjun , 1962- |
| Source Sets | The Chinese University of Hong Kong |
| Language | Chinese, English |
| Detected Language | English |
| Type | Text, theses |
| Format | electronic resource, microform, microfiche, 1 online resource (xvii, 316 p. : ill.) |
| Coverage | China, China, History, China, History and criticism, China |
| Rights | Use of this resource is governed by the terms and conditions of the Creative Commons “Attribution-NonCommercial-NoDerivatives 4.0 International” License (http://creativecommons.org/licenses/by-nc-nd/4.0/) |
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