Qiyun Mountain Taoist Music is a traditional religious music of the Han nationality that is popular in Anhui Province. Qiyun Mountain not only has beautiful scenery created by nature, but also has rich cultural heritage. Qiyun Mountain in Anhui, Longhu Mountain in Jiangxi, Qingcheng Mountain in Sichuan, and Wudang Mountain in Hubei are known as the four famous Taoist mountains in China. The Taoist culture of Qiyun Mountain that is popular here has a long history. As a component of the Taoist culture of Qiyun Mountain, the Taoist music of Qiyun Mountain complements all kinds of Taoist rituals of different sizes. It is of the same lineage and has been passed down to this day. In 2008, it was selected into the second batch of national intangible cultural heritage protection list of my country. Qiyun Mountain Taoism began in the second year of Qianyuan in the Tang Dynasty (758 AD). The famous Taoist Gong Qixia traveled here from Nanjing and was immediately overwhelmed by the unique mountain scenery of Qiyun Mountain. He decided to stay here. He is the founder of Qiyun Mountain Taoism. During the Baoqing period of the Southern Song Dynasty (1225-1227), Taoist Yu Daoyuan founded the Yousheng Zhenwu Temple to worship Zhenwu Emperor. It is said that Zhenwu Emperor traveled all over the world and visited famous mountains. Finally, he chose Qiyun and wanted to receive incense from this place. Later, the White Crane Fairy knew his intention and led hundreds of birds to carry mud to shape the statue of Xuan Emperor. It was particularly effective, so the incense became more and more popular. Therefore, there is a saying that "Xuan Emperor's incense is called Wudang in Junzhou and Qiyun in Huizhou". Before the Jiajing period of the Ming Dynasty, Qiyun Mountain was greatly influenced by Wudang Mountain in Hubei. The palace architecture and Taoist rules and regulations all imitated Wudang, and it was called "Little Wudang in Jiangnan". The Taoists at this time were Quanzhen Taoists, who advocated preserving the original and keeping one, not marrying, and not eating meat. They were also called pure Taoists. In the 11th year of the Jiajing reign of the Ming Dynasty (1532), Emperor Shizong of the Ming Dynasty sent Zhang Tianshi, the "Zhengyi Successor of the True Man" from Longhu Mountain in Jiangxi, to Qiyun Mountain to "build a ceremony to pray for a child". It really worked, and from then on, the mountain was given the name of the emperor and the "Xuantian Taisu Palace" was built. At this time, the Zhengyi Sect gradually became the mainstream of Taoism in Qiyun Mountain. Taoist priests of the Zhengyi Sect focus on drawing talismans and chanting spells to bring blessings and exorcise ghosts. Taoist priests can get married and do not avoid alcohol and meat during non-fasting periods, so they are called Huoju Taoist priests. During the Wanli period, Zhang Guoxiang, a disciple of Tianshi, stayed in the mountain to practice, and the tradition was passed down from generation to generation. The Taoist industry was greatly boosted, and the number of Taoist priests reached more than 100 people. There were more than 150 rituals every year, and morning bells and evening drums were sounded all year round. Later, with the decline of Taoism and war disasters, the incense of Qiyun Mountain withered. In the early years of the Republic of China, the government once renovated Qiyun Mountain, and successively restored more than 20 palaces and temples and 12 Taoist temples. After the founding of the People's Republic of China, during the "Cultural Revolution", the ancient buildings and cultural relics of Qiyun Mountain were almost destroyed. After 1979, restoration work began and has continued until now. Historically, Taoism in Qiyun Mountain experienced two sects, Quanzhen and Zhengyi. Later, the Zhengyi sect, which focused on fasting and offering sacrifices and talismans, became the main one. The Taoists in Qiyun Mountain have been constantly sorting and supplementing the original Taoist music scores, and have gone deep into the rural areas of Xiuning, Wuyuan and other places to collect and sort out the lost parts. Nowadays, the music of the Qiyun Mountain Taoist temple is mainly composed of two parts: sutra music and qupai music. There are many sutras and rhymes, mainly including "Zhutian Ke" to wish the deceased husband to be safe and disaster-free in Cao, "Xuehu Ke" for the soul of the deceased woman in labor, "Jiejie Ke" to pray for the children's weak and sick children to be relieved of the knot (disaster), "Jiehuo Ke" to pray for God to protect them from fire, "Chaoqi Ke" to pray for the souls of deceased parents to ascend to heaven, "Guanguan Ke" to pray for children to grow up easily and overcome difficulties, and "Liandu Ke" to do good deeds and accumulate virtue in order to avoid the two disasters of water and fire. There are 25 kinds of rituals, including the "Song of the Ten Kings", the "Hundred Sons" for praying to the gods for more sons, the "Ten Kings" for praying to the Ten Kings of Hell to forgive the sins of the newly deceased souls and free them from the sufferings of hell, the "Duren Jing" for repaying the kindness of parents and ancestors, the "Water and Land" for saving all ghosts on land and water, and the "Luotian Dajiao" held in accordance with the emperor's order to save the souls of many victims who died on the battlefield and in natural disasters. However, the Longhu Mountain in Jiangxi, the ancestral home of the Zhengyi School, has only 14 subjects, including the "Qingshui Anlong Diantu", "Qingsheng", "Sanchao" and "Zhaowang". In addition, the music of the Qiyun Mountain Taoism includes "Buxuyun" (including Gaobuxu and Circling the Altar Three Buxu), "Zhuyunfei", "Songfan", "Songshe", "Zhenxiangchuzhu", "Dakaimen", etc. Although they account for a small proportion, they are used very frequently. Like Taoist music in other places, the music of the Qiyun Mountain Taoist temple is also composed of vocal and instrumental music. Vocal music can be divided into "yin rhyme" and "yang rhyme". "Yin rhyme" is mostly used for singing and chanting in the Kefan ceremony held outdoors or at the host's home. Its audience includes believers and ordinary people who watch the fast. "Yang rhyme" is generally sung and chanted inside the temple, and its audience is mainly Taoist believers, gods of heaven and earth, and gods from all walks of life. Vocal music can also be divided into many forms, including chanting, reciting, and chanting. "Reciting" is used exclusively for chanting mantras, with weak melody, one word for one sound, and a relatively narrow range. "Reciting" is mostly used in Taoist priests' morning and evening classes every day. This kind of singing music has little ups and downs, a steady tone, a very simple melody, and no dragging, and it sounds like chanting and singing. "Chanting" has a strong singing quality and the strongest melody, and is often accompanied by ritual instruments and musical instruments. Instrumental music can be divided into regular songs and playful songs. Regular songs are instrumental music played by musical instruments or ritual instruments. It is mainly used in the middle of the inner altar's Yang affairs (praying for blessings) and the outer altar's Yin affairs (saving the soul) and the rituals of fasting and offering. It is played when the altar is turned. The tunes of the shuaqu are developed and changed by absorbing folk music. It is mainly used for Taoist ceremonies for the common people. It is played before and after the opening and closing of the altar, and it is very entertaining. The musical form structure of the Qiyun Mountain Taoist music is also rich and varied. There are short single sections, large and complex single two, single three or even multiple sections, and suites connected by different tunes. The melodies used are mainly pentatonic, with relatively stable melodies and narrow ranges, and most of them have no ups and downs. For example, in Buxuyun, the first part is a simple drum beat, and the flute slides from Yu to Zhi on the high pitch, followed by human voices singing around Jiao, returning to Gong, followed by all the instruments and human voices. The melody is mostly around Gong, Shang, and Jiao. The rhythm is standardized by percussion instruments such as gong and drums, and wind instruments and plucked strings are used as accompaniment. There are solo and chorus singing in the middle. In particular, there is a part where one person sings first, and then everyone joins in, just like a question and answer, one call and a hundred responses. The whole song does not have many lyrics. The language used for reciting the words is Huizhou dialect, one of the nine major dialects in China. Under the leadership of the melody, the rhyme is dragged, and the sound of waves is mixed in. It sounds like speaking and singing, fresh and elegant, solemn and solemn. The national instruments used to play Taoist music include drums, gongs, chimes, wooden fish, erhu, pipa, flute, flute, suona, etc. The music of the Qiyun Mountain Taoist temple is played with the original old score "Gongjin" score (Gong, Chi, Shang, Yi, Shi) with five notes. It has a beautiful rhythm and is ethereal, giving people a kind of aesthetic enjoyment and spiritual and mental comfort. It is an important part of the traditional culture of the Han nationality and the Hui culture of China, and is a very vital folk traditional music. With its strong and unique religious color, it shows the charm of the close combination of my country's Zhengyi Taoism and regional culture.