Naxi ancient music originated from Dongjing music and Huangjing music of the Han nationality. It is said to be Song music. Currently, only the part derived from Dongjing music is preserved. It is said that the original Han nationality sang it, and after it was passed to the Naxi people, it gradually became a simple music. The whole music is divided into two major keys, "Shenzhou" and "Huatong", and divided into more than 50 minor keys according to different contents. Frequently played are: "Qinghe Old Man", "Little White Plum", "Shuilongyin", "Shanpoyang", "Wannianhuan", "Jixiang", "Bagua", "Bubujiao", "Come to Spring", "Come to Summer", "Come to Autumn", "Come to Winter", "Langtaosha", "Ten Offerings" and more than 20 minor keys. Because this set of music has been widely played in Naxi areas for a long time, it has gradually integrated the style of Naxi people in the process of spreading. In the music culture of Naxi people in Lijiang City, there is a kind of Naxi ancient music that is famous both at home and abroad. According to research, this ancient music originated in the 14th century AD. It is the oldest music in Yunnan Province and one of the oldest music in China or the world. Naxi ancient music is the artistic crystallization created by the Naxi people under the influence of the Central Plains civilization represented by Confucianism and Taoism. Naxi ancient music consists of "Baishaxi Music", "Dongjing Music" and Huangjing Music (Huangjing Music has been lost), which integrates Taoist ritual music, Confucian ritual music, and even the lyrics and qupai music of the Tang, Song and Yuan Dynasties, forming its unique charm and is known as the "music fossil". The most appreciative part of Naxi ancient music is its "three rare treasures". The first treasure is the ancient music; the second is the ancient musical instruments, the instruments held by the musicians have a history of hundreds of years; and the third is the ancient artists. For example, some instruments add large leaps of ornaments, and large-range glissando and vibrato when playing, which dilutes the original elegant and elegant string music style of the Han nationality and turns it into a rough and powerful music with strong national colors. The charm of Naxi ancient music has a long history because Naxi ancient music is the court music created by royal nobles such as Emperor Minghuang of Tang Dynasty, and is one of the oldest music in the world. Xuan Ke said that in fact, Naxi ancient music is just an abbreviation. Its full name should be "the ancient music that the Naxi people have continuously inherited, preserved and promoted in the long river of history". It is played and passed down by the Naxi people from generation to generation. Naxi ancient music consists of "Dongjing Music", "Huangjing Music" (now lost), and Lijiang local music "Baishaxi Music". It is a "living fossil" of Chinese traditional music. What kind of music is the mysterious Naxi ancient music? Wu Xueyuan believes that Naxi ancient music is a "piece platter", which is composed of "Remeicuo", Baishaxi Music and Dongjing Music: "Remeicuo" is a kind of song and dance derived from the ancient primitive religious concept of the Naxi people; "Baishaxi Music" is a kind of music that was spread from the Central Plains to Yunnan during the Hongwu period of the Ming Dynasty; "Dongjing Music" is a local folk music variety unique to Yunnan Province, and is a folk music art activity with folk sacrifice as the main content. In the ancient city of Lijiang, Yunnan, the performance called "Dayan Naxi Ancient Music" attracts audiences from all over the world every night. Because this ancient music is the music preserved and handed down in the Naxi area, it is named "Naxi Ancient Music" by the operator. Going to Lijiang to appreciate this music known as a "living fossil" has become an indispensable part of many people's travel to Lijiang, and "Naxi Ancient Music" has become an important brand of Lijiang tourism. Last June, Wu Xueyuan, executive director of the Chinese Traditional Music Society, published a signed article "What is "Naxi Ancient Music"? " in the magazine "Art Review". He questioned "Naxi Ancient Music", an important brand of Lijiang tourism, with 16 pages of pictures and texts, and believed that the so-called "Naxi Ancient Music" is just a form of song and dance, and it is inappropriate to call it "ancient music"; and this form of song and dance comes from the Han nationality in terms of cultural origin, so it is also inappropriate to attribute it to the Naxi people. "Naxi Ancient Music" is completely a commercial hype, even "selling dog meat under the guise of sheep", and is "a distortion and blasphemy of the history and culture of the Naxi people." Xuan Ke, president of the China Dayan Naxi Ancient Music Association, who has been working hard to spread the reputation of "Naxi Ancient Music" at home and abroad for many years, believed that the publication of Wu Xueyuan's article in "Art Review" had infringed his reputation. He immediately took the author and the magazine to court, requesting the court to investigate the infringement of the two defendants; demanding Wu Xueyuan to pay 100,000 yuan in compensation, and "Art Review" magazine to pay more than 1.12 million yuan in compensation. There are three characteristics: one is that the repertoire (music) is ancient, the second is that the instruments are ancient, and the third is that the performers are old, most of them are elderly people in their seventies and eighties (but in recent years, a few young intellectuals are also keen on Naxi ancient music). People who have heard this kind of ancient music will not only feel the antiquity and civilization of Naxi ancient music, but also appreciate the profoundness of the Naxi culture. Although Naxi ancient music is ancient, it has been prosperous for more than 500 years. The reason is that it is solemn and elegant, and it is an elegant cultural art. For this reason, it is not only deeply loved by the Naxi people, but also favored by many countries in the world. In October 1995, the Lijiang Naxi Ancient Music Band was invited to visit and perform in the United States, Belgium, and the Netherlands, which once caused a sensation in Western Europe. The broadcasting companies of the United States, Britain, Italy and other countries played a large number of Lijiang Naxi ancient music during prime time; experts or inspection teams from the Netherlands, Japan and other countries also made a special trip to Lijiang to inspect ancient music and wrote monographs. "Bengshi Xili", created by the ancestors of the Naxi people about 700 years ago, is translated into "Baisha Xile" in Chinese. It is a classical music technique form circulated in the countryside of the Naxi people in Lijiang. "Baisha Xile" contains songs and dances, but its main component is instrumental ensemble. "Baisha Xile" is used to play music in funerals or major ancestor worship festivals. It is a customary music suite. At that time, there were more specialized musicians whose performance skills were quite superb. Later, most of the performers were semi-professional folk artists who participated in performance activities when invited. According to local chronicles, in the middle of the 19th century, more than 200 years ago, Baishaxi music was popular in Lijiang, and it was said at that time that it was music handed down from the Yuan Dynasty. According to the survey of the Lijiang County Propaganda Department on Bengshixi music in 1962, the music included "Du", "Yifengshu", "Sansiji", "Aligongjinpai", "Mubu", and other 14 pieces. Baishaxi music had disappeared in the clouds on the eve of liberation. After liberation, the party and the government attached great importance to Baishaxi music, and there were more than ten activities of learning, interviewing and collecting and sorting. In 1956, the cultural department of Lijiang County also organized an amateur folk band to participate in the "Yunnan Province National and Folk Music and Dance Festival" held in Kunming and won the first prize. Lv Ji, the former chairman of the Chinese Musicians Association, called Bengshixili "the living fossil of Chinese music" and gave it a certain affirmation. There have always been many sayings about the historical origins of Baishaxi music. Due to the long time and lack of information, the history of music is even more confusing. From the sources of various statements, they can be roughly divided into the following three categories: The first category is the records in ancient documents. For example, the "Lijiang Prefecture Chronicle" compiled in the eighth year of Qianlong in the Qing Dynasty (1743) has such a record: "All kinds of barbarians have songs, leaps, dances, and musicians call them 'Xile'. The zither, flute, pipa and other instruments are the same as those made in the Han Dynasty. Its tunes also have names such as "Daodao Ling", "Yifengshu", and "Jishengcao", which are said to be the remains of the Yuan Dynasty." This is the earliest known record of the history of Baisha Xile, which is believed to have started in the Yuan Dynasty. Similar to this statement is the record of the "Lijiang County Annals" in the late Qing Dynasty: "In the real Yuan Dynasty, the younger brother of the Ge Nang crossed the river. It is said that his music included huqin, zheng, flute, and other instruments. His tunes include "Southern and Northern Songs", "Tao Tao Ling", "A Letter", "Ji Sheng Cao" and other names. When the memorial ceremony was held, the host asked the musicians to play a song beside the spirit, which was called "Xi Le". It was lingering and sad. It was also used to send him off." From this, it can be seen that Baisha Xi Le was used as funeral music at least in the Qing Dynasty. According to "Yunnan Collection of Poets by Mr. Yi Xiao" it is said that "this song was created by the people. When the Mu family was prosperous, the Yongning Yi led their people to attack. The Mu family set an ambush in Beisha to wait for them and annihilated them. The people created this song to mourn them. In ancient times, it was called "Beisha Xi Le". "Xi Li" means Xi Le." The author Mr. Yi Xiao (1827-1887) was from Lijiang, which is obviously different from the above two chronicles. The second category is folk legends. There are many such theories, mainly in two categories. The first one is that it is said that Baishaxi music was one of the gifts that Kublai Khan gave to Aliang (one said to be Mu Tianwang) the leader of the Naxi ethnic group. In the first year of Lizong Bao in the Southern Song Dynasty (1253), the Mongolian Xian Gu Xianzong ordered his brother, Kublai Khan, who later became the Yuan Shizu, to personally conquer Dali. The Naxi leader Aliang greeted the Mongolian soldiers at the Laba River with great respect. Soon after, Kublai Khan conquered Dali. When he returned to the north, he thanked Aliang by conferring him the title of "Chahanzhang Guanminguan" and giving him a large number of gifts. Among them, half of the team of musicians and half of the music scores were included. The story of Kublai Khan's southern expedition is clearly recorded in the Naxi clan genealogy "Mushi Huanpu" in the Ming Dynasty. However, there is no mention of music in the record of gifts. The second one is that it was composed for Princess Longnu. According to legend, Mu Tianwang wanted to annex the Western Fan Kingdom, so he married his daughter Princess Longnu to the Western Fan prince. After hearing the news, the dragon girl wrote a letter and hung it on the dog's neck to take it to Xifan. After the prince of Xifan knew about the conspiracy, he led his troops to attack Lijiang; but was defeated by Mu Tianwang. Mu Tianwang immediately imprisoned the princess in the Yulong Pavilion in Yulong Lake. After the princess died, people created Baishaxi music to commemorate her. Therefore, Baishaxi music has a sad mood like the cold moon, light wind, cold rain and frost soul. People often feel sad and cry loudly after hearing this music. This is a beautiful story, and the famous songs of Baishaxi music such as "A Letter", "Princess Crying", "Barefoot Dance" and "Ali Li Ge Ji Pai" are also incorporated into the plot. The third category is the research of contemporary scholars. For example, Beijing scholar Mr. Mao Ji Zeng, who went to Lijiang for a field investigation in 1962. According to the survey data, he believes that Baishaxi music may have been introduced to Lijiang when the Mongolian army entered Yunnan during the Yuan Dynasty. Because some Mongolian soldiers stayed for a long time and settled in Lijiang, this music has been passed down with them to this day. In addition to the records in the above two chronicles, the basis for this is the following points: 1. It is a fact that some Mongolian soldiers stayed in Lijiang. Today, the name of a village in the area is translated into Chinese as "a village inhabited by Mongolians", and some locals still call themselves descendants of the Mongolian people. 2. When playing Baishaxi music, the musicians wear Mongolian costumes, while other folk performing arts do not have this custom. 3. In the band of Baishaxi music, there is a kind of instrument called "Sugudu", which is basically the same as the "Huobusi" recorded in the History of the Yuan Dynasty. There is no such instrument in the neighboring areas of Lijiang and other places in Yunnan. In addition, Yunnan scholar Mr. Huang Zhenfang believes that Baishaxi music is not only "the legacy of the Yuan people", but also Kunqu opera that was introduced to Lijiang, Yunnan in the middle of the Ming Dynasty. Its basic form is a combination of northern and southern music. Mr. Huang mainly conducted research from the comparison of the names of the tunes, the musical forms and the characteristics of the accompaniment, as well as combined with other historical data analysis. For example, there are tunes in Baisha Xiyue that have the same or similar names as Nanbei Qu, such as "Nanbei Qu", "Daodao Ling", "Jishengcao" and "Yizhihua"; in terms of melody, Baisha Xiyue and Kunqu singing have many common features; in terms of structure, the combination rules of Baisha Xiyue are consistent with Kunqu's tune combination in many aspects, etc.