eL-Hortobagyi_Ye-Fu_2004

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Sangeet Hortopaedia Shrrnkala
eL-Hortobágyi : Yüe-Fu 2004
Suyue intermezzo giocoso operetta
from the Memix Galaxy
eGáyan Uttejak Studio, Budapest 2004.
http://guo.hu/?page_id=123

The term yüefu covers original folk songs, court imitations and versions by known poets (such as those of Li Bai). As opposed to what appears to be more of an authentic anonymous folk verse which was collected by the Music Bureau, verse written deliberately in this style, often by known authors, is often referred to as "literary yüefu". The lines of the yuefu can be of uneven length, reflecting its origins as a type of fixed-rhythm verse derived from now lost folk ballad tunes; although, later, the five-character fixed-line length became common. However, as a term of classification yüefu has a certain elusiveness when it comes to strict definition. Furthermore, the literary application of the term yüefu in the modern sense of a classical form of poetry seems not to have had contemporary application until considerably after the end of the Han Dynasty, thus adding a certain historically ambiguity due to its use in this literary sense not having occurred until centuries after the actual development of this type of verse itself. The use of the term yuefu to generically refer to this form of poetry does not seem to appear until the late fifth century.
The yüefu poems of the Han Dynasty have been held in high regard over the history of Chinese poetry. The Han yüefu tradition inherited the traditional realistic approach of the Shi Jing's, "feeling of funeral music, causes behind the affairs". Folk songs collected or written by the Palace of the Musical Bureau in the Han Dynasty were typically done from the perspective of a certain set of personas—vividly and visually mirroring the perceived typical characters of people whose lives mirrored the different social roles which typified the society of the Han dynasty.

The word ya was used during the Zhou dynasty to refer to a form of song-texts used in court and collected in Shijing. The term yayüe itself appeared in the Analects, where yayüe was considered by Confucius to be the kind of music that is good and beneficial, in contrast to the popular music originated from the state of Zheng which he judged to be decadent and corrupting. Yayüe is therefore regarded in the Confucian system as the proper form of music that is refined, improving, and essential for self-cultivation, and one that can symbolize good and stable governance. It means the kind of solemn ceremonial music used in court, as well as ritual music in temples including those used in Confucian rites. In a broader sense, yayüe can mean a form of Chinese music that is distinguishable from the popular form of music termed suyue or "uncultivated music".

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