Exploring the origins and early development of Chinese military bands

Zhang Sho PhD in Art History Postgraduate Student, Department of History music, Dmitri Hvorostovsky Siberian State Academy of Arts 22 Lenin Street, Krasnoyarsk, 660049, Russia, Krasnoyarsk region zhangshuosax@163.com

Introduction

Military music plays a significant role in the cultural and historical tradition of China, acting not only as a means of communication during military operations, but also as an important element of national identity. Studying military music allows for a deeper understanding of China's socio-political history, as it reflects changes in the political structure, technological progress and international influences. Analyzing military music, one can trace how cultural exchanges and interactions with other peoples and cultures influenced the Chinese musical tradition.^[1]

Military bands have a long history that varies across cultures. In Russia, for example, they are often associated with marching music, which played an important role in the moral and psychological support of the troops.^[2] In China, military bands not only accompanied ceremonial events, but also became an integral part of rituals and folk festivals, reflecting the philosophical, religious and cultural characteristics of the country. The study of the international development of military orchestras allows us to take a fresh look at the unique aspects of Chinese musical practice.

The main purpose of this study is to investigate the origin and early stages of the development of Chinese military bands, as well as to assess their impact on Chinese cultural traditions and identity. To achieve this goal, the following tasks were set: To analyze historical sources to identify the first mentions of Chinese military bands. To assess the development of military bands in various historical periods and their role in public and political life. To study the musical instruments that form the basis of military orchestras and the changes in their use depending on the historical context. To consider the influence of external cultures on the formation and development of Chinese military orchestras. Thus, the study not only deepens the understanding of specific aspects of Chinese musical culture, but also contributes to a broader understanding of the influence of music on social processes and identity.

Research methodology

The research methodology proposed in this paper is an interdisciplinary approach combining historical-documentary and musicological analysis. In particular, this methodology uses historical documentary research to track and analyze the origin and development of Chinese military music in various historical periods, and combines them with musicological analysis to study changes in the form, function and socio-cultural significance of this military music. This methodological approach is partly based on historical and analytical methods commonly used in previous studies, for example, based on Fan Qi's study^[7] of the art of military music during the periods of Spring and Autumn and Warring States, which focuses on understanding through historical documents how cultural and political structures influenced the development of musical forms. In addition, by introducing a musicological analysis based on Zhang's analysis^[12] on the creation of musical modes in ancient Chinese music, the article adds a specific study of music itself, including types of instruments, music structure and performance styles, which allows for a more complete understanding of the role and significance of music in history and culture. Thus, the methodology of the article is based on historical research, which has been analyzed in detail with the help of musicology, which made it possible to create a comprehensive research perspective that goes beyond documenting historical events and includes an assessment of the social and cultural influence of music. This interdisciplinary methodology allows us to explore how military music reflects and shapes social identity and cultural exchanges.

The historical roots of Chinese military bands

The history of Chinese military bands goes back to ancient times.^[5] The records on "divination bones" and bronze products from the time of the Shang Dynasty (about 1600-1046 BC) contain the first mentions of the use of music in a military context. Musical instruments of that era, such as drums and bells, were used not only for signaling, but also to inspire troops and intimidate the enemy. These tools have played an important role in shaping military traditions and ceremonies, which have become an integral part of military strategy.

Figure 1. Four Tigers Bronze Bo,

Source: https://www.hnmuseum.com/zh-hans/zuixintuijie/

Figure 2. A copper drum from Chongyang

A source:http://www.hubei.gov.cn/jmct/gcww/202208/t20220830_4284951.shtml

During the reign of the Shang and Zhou dynasties, music occupied a central place in state and military rituals.^[6] Musical accompaniment was a mandatory attribute during sacrifices and other ritual actions. During the Zhou Dynasty (about 1046-256 BC), music education became part of the mandatory training program for noble men, including military leaders, which emphasized the role of music in the cultural and moral education of the individual. Compositions that could influence the morale of troops and strengthen discipline were especially appreciated.

With the emergence and establishment of Confucian ideas, music acquired a new meaning in the context of social structure and state ideology. Confucius (551-479 BC) considered music to be an important means of education and self-improvement, as well as a tool for harmonizing society. In his teaching, music was associated with order and harmony, which was reflected in the military sphere. Military bands began to use music not only for military manipulation, but also as a means of training and educating soldiers, helping to strengthen loyalty and discipline.

Each of these aspects highlights not only the historical significance of music in China's military affairs, but also its deep relationship with the cultural and philosophical traditions of the country. Military bands thus become a mirror of the social structure and cultural priorities of various historical periods.

The development of military bands during the dynasties

The military bands of the Han Dynasty (206 BC – 220 AD) played a significant role in both ceremonial and combat life. They included a wide range of wind, string and percussion instruments such as metal timpani, wooden flutes and drums of various sizes.^[3] This made it possible to create a multifaceted sound corresponding to the scale and significance of state events. The main functions of the orchestras covered signaling (announcing the beginning of important events), motivational (raising the morale of troops) and ceremonial tasks (accompanying state rituals), as well as coordinating the movements of troops on the battlefield. Rhythmic and marching melodies helped to maintain the formation and rhythm of the army's movement. During the Tang (618-907) and Song (960-1279) dynasties, Chinese culture was enriched by the influence of neighboring states, which was reflected in the composition of military bands. New instruments such as Persian drums and Indian flutes were introduced, enriching the sound of orchestras. The repertoire has expanded due to melodies popular in Central Asia, giving the music an exotic and diverse character.^[10] The melodies became more complex and melodic, moving away from the strict marching rhythms of earlier periods. During the Ming (1368-1644) and Qing (1644-1912) dynasties, military bands were further structured, reflecting the increased centralization of power. Musical compositions of these times were strictly regulated, musical forms became more monumental and emphasized the greatness and power of the empire, being used to demonstrate power in the international arena and in diplomatic missions. Confucian philosophy continued to influence military music in China, considering music to be a means of educating the moral qualities of warriors. Musical compositions were supposed to promote harmony and order in society, which was reflected in the strict structure of musical compositions and attention to detail of performance. This influence is evident in the strict hierarchy and discipline of military bands, which became a reflection of Confucian ideals of order and harmony. These aspects show how cultural, political and philosophical changes have influenced the development of military music in China over various historical periods, each of which has left its own unique imprint on the musical practice of military orchestras.

Instruments and musical repertoire

Chinese military bands have traditionally used a wide range of musical instruments, which can be classified by type: brass, strings and percussion. Among the wind instruments, various flutes are particularly distinguished, such as didju () and sheng (?), which were used to produce high, shrill sounds characteristic of military signals. Stringed instruments included such as xie (?) and guzheng (), which were used in more solemn and calm moments. Percussion instruments such as drums and gongs were key to maintaining rhythm and coordination of movements during marches and battles.^[13]

Over the course of history, the composition of orchestras has evolved, reflecting both internal cultural changes and external influences. For example, during the Tang Dynasty, the advent of Persian and Indian instruments such as drums and flutes greatly expanded the sound capabilities of orchestras.

The musical repertoire of military orchestras is closely related to their functions. During the ceremonies, compositions were performed that emphasized the status and power of the emperor, such as "King Qin breaks through the front line." During the Tang dynasty, "King Qin breaks through the front line" not only as music, but also as a tool of political propaganda designed to strengthen the legitimacy of government.^[8] These compositions had pronounced marching rhythms and sublime melodies, emphasizing the greatness and power of the dynasty. In the context of combat, the repertoire of the orchestras included signal melodies that were used to coordinate tactical maneuvers, for example, "Attack" or "Retreat". The majestic and awe-inspiring nature of imperial power was reflected in complex phrasing and large-scale arrangements, and the emphasis on dramatic shifts and powerful blows emphasized the determination and impregnability of the empire. The scores of that time often used brass and bass drums to create loud and impressive sounds, symbolizing the strength and unity of the empire. The construction of melodies makes maximum use of the resonance of these instruments to create a majestic and solemn sound. An analysis of the notation of these works shows that the use of different intervals and rhythmic patterns reflects the need for military discipline and organization, which were important for military operations at that time.

Figure 3. King Qin breaks through the front line

A source:https://www.qupu123.com/Mobile-view-id-335522.html

The symbolic significance of these compositions lies in their ability to influence the morale of soldiers, strengthen discipline and unity, as well as demonstrate the cultural identity of the nation. Foreign influences have had a significant impact on Chinese orchestral practice, especially during periods of active international contacts. An example is the period of the Tang Dynasty, when musical styles and instruments from Central Asia and Persia penetrated into China through the Silk Road. This has led to the enrichment of the musical language of military orchestras and the emergence of new genres and forms that have been adapted for ceremonial and military use. Thus, the study of instruments, musical repertoire and external influences allows for a deeper understanding of how changes in orchestral practice reflected broad socio-cultural processes in China.^[11]

The socio-cultural significance of military bands

The music of military bands acted as a powerful tool to influence the emotional state of soldiers. During the Han Dynasty, music was used not only to coordinate actions on the battlefield, but also to maintain the morale of troops. The performance of battle hymns and marches helped to maintain a high level of morale of soldiers, especially at critical moments of battles. Research shows that music promotes the release of endorphins, which can reduce feelings of pain and fatigue.^[9] For example, before the Battle of Kaohsiung in 202 BC, military bands performed motivating melodies, which, according to historians, significantly increased the morale of Liu Bang's troops.

Military bands were not only a means to wage war, but also a channel for cultural exchange. As the orchestras moved with the armies across various regions of China, they spread musical styles and instruments that were found in one area among the peoples of other regions. During the Tang Dynasty, when China was heavily influenced by foreign cultures, military orchestras adapted and incorporated elements of these cultures into their repertoire, such as the use of Central Asian stringed instruments. This contributed to the formation of a more global musical perception and understanding of cultural diversity.

Military conflicts inevitably influenced the development of musical practices of military orchestras.^[4] During periods of war, for example, during the Mongol conquests, Chinese military orchestras encountered the musical traditions of the Mongols, which led to the exchange of musical techniques and instruments. This, in turn, led to the creation of new musical forms that were adapted for use in the Chinese military. For example, special marches were developed to coordinate cavalry attacks, which greatly improved the tactical effectiveness of cavalry on the battlefield.

These aspects illustrate the deep relationship between military bands and cultural, social, and military changes in Chinese society. Military bands not only accompanied military operations, but also actively participated in the formation of cultural identity, promoting cultural exchange and adaptation to new conditions as a result of military conflicts.

Conclusion

In the course of this study, the key aspects of the development of military orchestras in China, starting from ancient times and ending with the last dynasties, were considered. The main focus was on the evolution of musical instruments, changes in the musical repertoire and the impact of cultural and historical events on the practice of military orchestras. It was found that military bands not only helped to strengthen the morale and discipline of the troops, but also served as a bridge for cultural exchange and integration of various musical traditions.

Military bands have been of great importance in the history of China. They were not only a tool of military administration and communication, but also a means of spreading cultural ideals such as Confucian morality and state ideology. Orchestras contributed to the formation of national identity and unity, emphasizing the role of music as a universal language that could bring together different segments of the population and cultural groups. The music of military bands reflected not only technical and creative achievements, but also political changes in the country.Military bands have played an important role in China's social and cultural history, and studying military bands offers a unique perspective on Chinese history and culture. Continued research in this area promises to lead to new discoveries and a deeper understanding of the influence of music on social processes.

Further research in the field of military orchestras may include in-depth analysis of the impact of specific historical events (for example, wars and political changes) on the musical practice of orchestras. In addition, a promising area may be the study of the interaction of Chinese military orchestras with the musical traditions of other countries and cultures. This will allow us to gain a more complete understanding of the process of cultural exchange and assimilation in a global context. Finally, in the future, it may be possible to conduct an in-depth analysis of the various historical processes associated with national marching bands.