东夷乐舞源流综述

Studies on the Origin and Development of Music and Dance of Dongyi Culture

上古东夷民族的图腾乐舞滥觞于传说的少昊时代（大致相当于考古学上的大汶口文化时期）。到“五帝”时代（大致相当于考古学上的山东龙山文化时代）后期，乐正夔协助帝舜整理和发展传统乐舞，以东夷乐舞为主体而综合创立《韶》乐，遂成为后世王官乐舞的总源头。春秋战国之际，东夷故地的鲁国和齐国仍然完整地保存着《韶》乐。秦汉以后，《韶》乐古曲始渐次失落，但直到近世，曲阜孔庙祭孔时所用大型乐舞仍存留着《韶》乐和《韶》舞基本模式的痕迹。

Totem music and dance of Dongyi pepole(East barbarians ) originate from legendary Shaohao period (namely Dawenkou Cultural Stage in archaeology) in ancient times. In the late Five Emperors period (namely Longshan Cultural Stage in archaeology), Kui, a man who was in charge of affairs of musie and dance,assisted Emperor Shun in sorting and developing traditional music and dance. So Shao Music was established on the main part of Dougyi music and dance, and Shao Music became the origion of later music and dance in court. At the transitional period from the Spring and Autumn pened to the Waring States period, there still existed Shao Music on the former land of Dongyi people, i. e. in Qi State and In State. Shao Music gradually became lost after Qin Dynasty and Han Dynasty. Nevertheless, up to modem times, one can still trace the Moundamental aspects of Shao Music and Dance in the large-scale dances-and-music for memorial ceremony held for Confucius in Confucius Temple in Qufu.