What process did Yan Yue go through in Tang Dynasty?

In the Tang Dynasty, there was a famous female singer named Zhang in Chang 'an. She was born in a very poor family. One day, she and her father were singing in the street when the then general Wei Qing passed by. Wei Qing was admitted to the government as a geisha because of her beautiful singing and looks.

Zhang Li has a strong understanding and a strong memory. She has the ability to remember the music she has heard. What she is best at is a large-scale song called Le Yan. Le Yan is a new kind of song and dance music developed on the basis of harmony music in the Han and Wei Dynasties and music in the Six Dynasties.

At that time, Wang Shancai, a famous singer, wrote a new song by tone sandhi and rhythm addition and subtraction according to the ancient song "Long live Xihe Girl". He sang repeatedly, feeling very new, so he rushed to the home of Wei Qing, a very popular singer of Xuanzong in the Tang Dynasty, and wanted to sing it to Wei Qing, ask for advice, make a little change, and then present it to Daizong.

When Wei Qing knew his purpose, he decided to play a little joke on him. Wei Qing let Zhang Honghong hide behind the screen and let her secretly write down the scores. Zhang still remembers that musicians beat the tune with adzuki beans when singing.

After the music was finished, Zhang had mastered the whole song accurately. Wei Qing said to the musicians, "your Le Yan's songs are not new works. I have a female disciple who sang a long time ago. "

Musicians don't believe it, so Wei Qing told Zhang to sing just now through the screen. The song was completed without any mistakes, and the original song was improved to make it sound better.

The musician was very surprised after hearing this. He said in surprise, "This song was unstable at first, but now it is finally correct."

Later, when Emperor Taizong heard about it, he called Zhang into the palace and went to Yichun Hospital. He is also very kind to Zhang, and has cultivated him into a talent. Because of her specialty in memorizing music, everyone in the palace called her Miss Memorizing Music.

Zhang Honghong thanked Wei Qing for taking him in when he was poor. When she heard the news of Wei Qing's death, she cried to Tang Daizong, "I am a beggar, and my father lived a good life in his later years. Thanks to Wei Qing, I can't forget his kindness. "

A few days later, Zhang died of grief. Tang Daizong was moved by her behavior and named her Zhao Yi.

Le Yan Daqu in Tang Dynasty, referred to as Tang Daqu for short, is a large-scale song and dance music developed on the basis of folk songs and ballads in Tang Dynasty and inheriting the tradition of Qing Daqu since Han and Wei Dynasties.

Daqu in the Tang Dynasty is a large-scale art form that integrates instrumental music, vocal music and dance and performs continuously in the middle of a whole. Its artistic expression, artistic conception creation and the absorption and integration of foreign music all show the achievements of court music in Tang Dynasty. Its main features are large-scale song and dance and three instrumental performances.

A part of Daqu in the Tang Dynasty is called "Faqu". The name of French music began in the Sui Dynasty, according to the historical book "New Tang Book? Rites and music records:

There was a French song in the Sui Dynasty with a clear and elegant voice. Its musical instruments are cymbals, bells, chimes, flutes and pipa; Its sound, stone, silk and bamboo are all inferior. Emperor Yang Di was tired of his voice. At the end of the song, he added a voice.

Accordingly, the main difference between Daqu and Faqu lies in that Faqu pursues elegant sound, while Daqu has warm sound with the help of drums. For example, Daqu "Song of the King of Qin Breaking the Array", "Qing Hao Qu" and French Qu "Cai Yu" are quite different in musical style, but in structure, Daqu and French Qu are the same.

In the Tang Dynasty, due to the great communication of national music and the relative stability of society for hundreds of years, Daqu in the Tang Dynasty entered a historical stage of integration, digestion and absorption.

In the Tang Dynasty, the music of various ethnic groups with great influence was divided into nine sections and then into ten sections. Le Yan Daqu in this period became the most outstanding representative of ancient large-scale song and dance. The Tang Dynasty also became the heyday of ancient song and dance Daqu.

The ten pieces of music established in the Tang Dynasty are all very popular songs and dances in western countries. Shule and Guo Kang and Gaochang were popular in China, just like other songs, long before the establishment of the Music Department in 100, and the Ten Songs appeared only after the establishment of the Ministry.

Among these ten pieces of music, Qingqu is a kind of singing and dancing music developed on the basis of inheriting Xianghe music since Han and Wei Dynasties. Le Yan is a kind of song and dance music used at the beginning of the banquet.

Other ministries, except Xiliang Music and Koryo Music, have kept some traditional Han musical instruments, such as Sheng, Xiao and Zheng, with cymbals, flutes, Quxiang Pipa and Wuxian Pipa as the main melody melody instruments, drums of various colors, and some even added brass cymbals.

Among the representative musical instruments of these pieces, only the five-string pipa was finally lost because it was not far from the musical pipa, and the rest became important musical instruments with the popularity and even differentiation and integration of ten pieces of music. For example, the pipa has entered the list of the most important musical instruments in the Tang Dynasty.

Ten songs are Le Yan Daqu in the Tang Dynasty in a broad sense, but Le Yan's scope is larger than ten songs. Although some music in the Tang Dynasty belonged to Yan Music, it was not included in Ten Songs, such as Nanzhao Music.

The tunes used in Yan music in Tang Dynasty have accepted the habits and theories of different nationalities, which are far from the three tones of Qing and Shang Dynasties or the three tones of flute since Han and Wei Dynasties. There are 28 names in the history books.

Among the top ten songs of Le Yan in the Tang Dynasty, Le Qing, Xiliang and Qiuci are more important. Le Qing is an ancient sound of China, and western cool music is mixed with Qiuci music, so Qiuci music is more important in the music of all ethnic groups.

In the Tang Dynasty, people often ended the whole song with a solution at the end of the song, and the solution often needed quick excitement to form the climax of music. This structure is unprecedented.

In previous music, the ending was often slow, such as the trend of Han and Wei Daqu. In fact, this is an absorption of Qiuci music, Shule music and Anguo music. Obviously, the formation of Le Yan Daqu, which developed in the Tang Dynasty, is closely related to music exchange, rather than the natural development of Han and Wei Daqu.

The structure of Tang Daqu is huge, with 20, 30 or even 50 pieces of Tang music and dance. A typical Daqu is divided into three parts, and each part includes several paragraphs.

Random sequence is the first part, using a random board with free rhythm. Order is order, and this part of order is scattered, so it is called scattered order. Sanqu is purely instrumental performance, including solo, chorus or ensemble.

The next second part is called the middle part, which means it is the middle part. Because of its fixed rhythm, it is also called "beat sequence", and because it mainly sings and sometimes dances, it is also called "song head" The middle sequence is mostly adagio.

The last part is called breaking, mainly dancing, sometimes singing, also called whole body dancing, and the rhythm is gradually accelerated or even extremely fast, and it is over.

Due to the huge structure of Le Yan Daqu in Tang Dynasty, it takes a long time to perform it once. The great poet said this when describing the length of the famous Daqu "Caiyu". The boat just left 15 Li just finished enjoying a slow song "Nishang", about an hour.

There are as many as forty or fifty kinds of famous Le Yan Daqu in Tang Dynasty. In addition to colorful feather clothes, there are Liangzhou music, Yizhou music, Qin Wang broken array music and so on.

According to documents, three different forms of Qi music were popular in the Tang Dynasty. From its description, we can know that one is the orthodox four-tone scale, the other is the natural seven-tone scale and the other is the seven-tone scale.

Almost all the instrumental music in this period came from Daqu. Later, among the papers found in Dunhuang, there was Tang Pu written by Changxing in the fourth year of the late Tang Dynasty and the Ming Dynasty, indicating that there was an early scale score in the Tang Dynasty. Some people suspect that its origin is related to the reed instruments such as sheng, and the words "He", "I" or "B", "Four", "Five" and "Six" used in Miyachi notation may come from the pipe sequence.

Later, people found a large number of Tang music scores in Dunhuang Mogao Grottoes, and people have always had great disputes about the rhythm of Tang Le. Before and after music in the Qing Dynasty, drums were the dominant music rhythm, and after Sui and Tang Dynasties, drums became beats, so later generations called it music rhythm with beats or boards.

In the works of the Tang Dynasty, it is said that Emperor Xuanzong of the Tang Dynasty asked the musician Huang Zanchuo to write a clapper score, and Huang drew an ear on paper and sent it, explaining that as long as the ear feels right, it will not lose its sense of rhythm.

Therefore, the rhythm of Dunhuang music score is extremely difficult to grasp, mainly because the notation at that time was not rigorous. Later, people can only get a glimpse of the music at that time from its music score.

The emerging folk songs in Sui and Tang Dynasties are called Quzi, including the folk songs of Han nationality and other nationalities. There are more than 500 lyrics of songs discovered in Dunhuang alone, involving 70 or 80 titles.

The sentence patterns of Le Yan Quzi Ci in Tang Dynasty are mostly not limited to five words and seven words, but miscellaneous words. Some words, such as Zhuzhi Ci, are also seven words, but every sentence has a sandwich in the middle and at the end, and the sandwich part is sung by the whole people, which is much more lively than the ordinary seven-words and four-sentences.

In addition, there is a unique folk song format in which people sang various contents in the way of five tables and twelve o'clock arrangement in the Tang Dynasty. This special format, which can contain all kinds of contents, is easy to remember and spread, and has spread widely since then.

Although there are creative elements in Yan music songs in Tang Dynasty, most of them are relatively fixed lyrics. Lyrics for music has a long history. After Han Yuefu, this method was often used, but it was always arbitrary and could not be a special category.

In the Tang Dynasty, because of the changes in political economy and social structure at that time, music began to move from the royal family to the common people's society, and the general public also gained more rights to enjoy music, and writing lyrics for music was a good choice to meet the needs of this society.

The songs of Yanle in the Tang Dynasty were also made by the people. These songs are easy to learn, easy to remember and familiar, and the lyrics can inject fresh content into them, which greatly enhances their plasticity and flexibility. Therefore, lyrics written by songs have long formed a social atmosphere, as evidenced by the lyrics written by many songwriters unearthed in Dunhuang Mogao Grottoes.

In the Tang Dynasty, on the one hand, new songs were constantly produced, on the other hand, old songs were basically stereotyped after social screening. These relatively fixed songs, including those handed down from the previous generation and screened, such as some paragraphs of Daqu, are Qupai, which writers call epigrams or songs.

The birth of Qupai announced the birth of a new music system. The significance of Qupai lies not only in taking Qupai as music material, but more importantly, it will form a new music development method, a new music structure and combination system. And this system will run through from now on, thus affecting the whole process of citizen music in the history of post-history.

Tang Dynasty is the heyday of Daqu art development. Tang Daqu is not only numerous and widely sourced, but also has a high artistic level, which is quite famous in history. Except for a few old songs of Qing music before the Tang Dynasty, they mainly came from the new sounds of that era. These new sounds are mainly composed of two parts:

First, on the basis of the music of the Qing Dynasty, it absorbed the western minority music such as Xiliang, Qiuci, Shule and Gaochang, as well as Tianzhu and Koryo, and produced "Okoyi Lane Miscellaneous Songs". Secondly, after the minority music and foreign music were introduced into the mainland of Tang Dynasty, they finally absorbed the nutrition and experience of the music of Qing Dynasty and formed the later Le Yan Daqu. However, due to different application occasions and sources, these Daqu can be divided into three categories: Yayue Daqu used for major ceremonies such as temple fairs and sacrifices, Le Yan Daqu used for banquets, New Year's Eve parties and major festivals, and Daodiao Daqu from religions. Among them, Le Yan Daqu includes Leqing Daqu, Xiliang Daqu, Qiuci Daqu, Shule Daqu, Gaochang Daqu, Anguo Daqu and Tianzhu Daqu. Le Yan Daqu and French Daqu have the highest artistic level and huge and complex structures. For example, there are only two broken array songs in gagaku Daqu, but there are 52 times in Le Yan Daqu.

According to the records of Jiao Fangji by Cui, a writer in the Tang Dynasty, there are more than 60 major works of Tang Daqu, such as Broken Array Music, Green Waist, Liangzhou, Yizhou, Flowers in the Garden of Yushu, Boating, Jade Clothes, Fire Phoenix, Inverted Cup Qu and Boating.

The typical structure of Tang Daqu consists of three parts: preface, qu and Duan. Disorder is the cause of disorder. Generally, it is composed of instrumental music of several eras. Songs are also called middle sequence, beat sequence or arrangement, that is, the board is the main body of music, which generally consists of several soothing songs, and sometimes there are dance music, such as 18 times of "color feather", 5 times of "water turn around", and the first call. There are obvious rhythm changes between passes. Broken music, also known as dance times, is the end of a complex and urgent festival, which generally consists of several times, such as colorful feather 12 times and water turning around 6 times. This part is mainly dance, and sometimes there are songs, and the rhythm and speed change is extremely complicated. The first time I called beer, it was from slow to fast.

According to the records of ancient books in Song Dynasty, there are still some parts such as virtual reminder, repeated reminder, real reminder, middle reminder and rest after the break. After the break, the rhythm has been slightly faster, but at first the drums were only played to match the music instead of urging the rhythm, so it was called virtual urging.

Zhou is a term for drums and pipa, that is to say, it is by hitting the left and right sticks quickly or plucking their faster parts continuously with plucked fingers. When you wake up, you use the drum to urge the rhythm, which is called real urging.

After actual urging, it is called Zhong Qiu, which should be Allegro. Taking a break may be the part that suddenly changes from fast to slow before the music ends. Killing a husband, also known as killing a husband or a car, is the last break, which may be the part that is coming to an end.

Bai Juyi, a famous poet in the Tang Dynasty, once said that at the end of Daqu, the sound beat was urgent, and only the end of the dance in attire was a long lead.

The lyrics of Tang Daqu are composed of several five-character or seven-character poems. For example, there are five poems in Yizhou, the first two times each have a seven-character poem, and the last three times each have a five-character poem; Break it five times. There are seven-character poems in the first three times and five-character poems in the last two times. Most of these poems were written by famous poets in the Tang Dynasty.

The Gongdiao used in Tang Daqu is called Le Yan Twenty-eight Tones, and the tone sandhi and tone sandhi are widely used. There are various bands in Tang Daqu, including national bands and foreign bands with their own characteristics, as well as mixed bands that learn from others.

Apart from the old musical instruments of Qing music in the Six Dynasties, the Qing music band in Tang Daqu further absorbed traditional musical instruments such as chime and flute, emerging musical instruments such as Sanxian, Dan Xian, Fanghuan and Pipa, and ethnic minority musical instruments such as blowing leaves, forming a new band.

Qiuci Band is dominated by Qiuci national musical instruments, such as Quxiang Pipa, Vertical Rugby, Jiegu, Dutan Drum, Dala Drum and Lou Ji Drum. Anguo Band consists of traditional musical instruments such as flute, double drum, orthodox drum and harmony drum.

Xiliang Band not only has traditional musical instruments such as chimes, chimes, guzheng and Zheng, but also has Qiuci musical instruments such as pipa, cymbals and brass cymbals. This is a band where pure music and Qiuci music are mixed.

Yan's band is very special. Some musical instruments were selected from various bands at that time, and they were made into different music groups, such as the big and small pipa and the five-string pipa. Sheng Da and Xiao Sheng, piccolo, shakuhachi, flute, Xiao, Lie, Da and cymbals form a large comprehensive band. This band has an advantage over other bands in timbre and volume change.

In order to pursue "elegant" style, Daqu Band in Tang Dynasty mainly used traditional musical instruments such as chimes and chimes, and absorbed foreign musical instruments such as pipa and cymbals. It is a mixed band close to pure music.

The further blending of national music in the Tang Dynasty provided the most convenient conditions for the development of Daqu in the Tang Dynasty. After a long period of communication and integration, the Han folk music and the music of various ethnic minorities belonging to the music system of the Qing Dynasty produced a new folk song in the Tang Dynasty, called Quzi.

In fact, Daqu in Tang Dynasty is a large-scale divertimento composed of these new songs. At the same time, the music of Xiliang, Qiuci, Shule, Gaochang and other ethnic minorities absorbed the nutrition of Han music and improved artistically. During the Kaiyuan period of the Tang Dynasty, they generally broke through the original simple forms of songs, dances and songs and created their own national Daqu.

Some of them were introduced into the Central Plains from Hexi region in the name of the new voice of Hu Department in Tianbao period, which aroused great concern at that time. Therefore, Li Longji, Emperor Xuanzong of the Tang Dynasty, also promulgated the imperial edict of "Daodiao Faqu, Hubu Freshmen Ensemble". Therefore, Hu Xuan, Hu Teng and other so-called new voices in Daqu at that time were all the rage in the society.

In addition, some ethnic music located in the southeast and southwest of the motherland, such as Ryukyu, Taiwan Province Province, has a kind of song and dance music of "one person sings, and all people are in harmony". The folk music of Nanzhao, Dali, Yunnan and Tubo, Tibet, has been introduced to the mainland one after another, which has promoted the development of Tang Daqu characterized by "mixing Okoyi Lane songs". At the same time, Daqu, Liu Yao and Liangzhou, which were popular in mainland China in the Tang Dynasty, were also introduced into Tubo and Nanzhao at this time, which had a beneficial impact on the artistic promotion of local music.

The rulers of the Tang Dynasty always attached importance to Le Yan Daqu. As early as the early days of the founding of the People's Republic of China, the emperor of the Tang Dynasty set up nine pieces of music in the court, including Shang Qing, Xiliang, Qiuci, Shule, Guo Kang, Anguo, Funan and Koryo. In the sixteenth year of Zhenguan, Gao Chang was added and changed into ten pieces of music, which were played at important celebrations or banquets held by the imperial court.

In Xuanzong of the Tang Dynasty, people played separately or by sitting, which was called inner geisha or left geisha. Most of his songs are new works of Daqu in the early Tang Dynasty and Xuanzong period of Tang Dynasty. There are eight songs belonging to the Ministry of Rites, Taiping, Broken Array, Qingshan Music, Dading Music, Shangyuan Music, Shengshou Music and Guangsheng Music, and those belonging to the Ministry are Changshou Music, Tianshou Music and Long Live Bird Song.

During the reign of Emperor Xuanzong of the Tang Dynasty, in order to meet the needs of enjoyment in the ruling and opposition parties, festivals such as Qian Qiu Festival were also set up. During the festival, officials from the central government to the local government have a three-day holiday, holding banquets and dancing. This is also a reason for the prosperity of Daqu in the Tang Dynasty.

In addition, since the end of the Han Dynasty, Buddhism introduced from the western regions has been paid more and more attention. In view of the lessons of the collapse of the Sui Dynasty, the rulers of the Tang Dynasty implemented the policy of paying equal attention to Buddhism, Taoism and Confucianism.

Of the three religions, Buddhism and Taoism are particularly important. Emperor Taizong himself did not believe in Buddhism, but he strongly advocated Buddhism and was very polite to monks. For example, in order to shave Xuanzang, the most famous monk at that time, he held an unprecedented grand ceremony in Chang 'an.

According to the records of The biography of Master Sanzang in the Tang Dynasty, on the day of tonsure, Taichang Qing led nine pieces of music in Taichang Temple, and bands in Wannian County and Chang 'an County received more than 500 "sound cars" 1500 respectively, followed by Xuanzang, monks and temple officials. The scene is spectacular.

The music has been loud all the way. After arriving in Jionji, he performed nine pieces of music, a big song "Broken Array Music" and hundreds of plays in front of the Buddha statue in the Hall of Ursa Major. At that time, in addition to offering sacrifices in front of the Buddha with secular Daqu, many monasteries also trained a group of monks who were engaged in playing music, singing and dancing, mainly playing Falun, which was compiled with the tune or form of Daqu to promote Buddhist teachings, and some secular Daqu called Falun.

For example, the Qing Temple in Chang 'an in the early Tang Dynasty was full of land and water manors and treasuries, and it was the richest temple in Chang 'an. There are 20 pure people in this temple who specialize in inspiration. Every festival, it is played in front of the Buddha. Because the performance technology in this temple is relatively high, there are many people in the temple on holidays. It can be said that the audience is like a cloud and very lively.

Shao Kang, a famous monk in the Tang Dynasty, once said that Buddhist scriptures are like bitter medicine and Zheng Sheng is like honey. To convince people of the teachings of Buddhist scriptures, it is easy to be accepted only if honey is coated in the mouth.

Daqu is a large-scale music and dance suite in ancient times. There was a peaceful Daqu in the Han and Wei Dynasties and a Shangqing Daqu in the Six Dynasties. Until the Tang Dynasty, Daqu had reached a mature stage after successive generations' inheritance and development.

The song and dance ceremony in Tang Dynasty was the most important and representative music form at that time. It is usually divided into three parts: sequence, middle sequence and break. Each part can be divided into several paragraphs. Rhythm is free, and it is an instrumental part. The middle sequence is also called the first song, which is slower. Singing, accompanied by instrumental music, is also called dancing. The rhythm is getting faster and faster, mainly dance, accompanied by instrumental music.

The singing part in the preface is mostly lyrical paragraphs. After the break, the dance gradually climaxed, and the ending was more intense and wonderful, but it was also elegant and agile, with no routine. Some Daqu songs are also called Faqu, most of which are melodious and elegant, and their origins are mostly related to Buddhist music. In the Tang dynasty, Taoist music factors were integrated into it, or few songs.

The variety and quantity of song and dance Daqu in Tang Dynasty is also a must. Jiao Fang Ji, written by Cui in the middle Tang Dynasty, is an important record of activities in the Tang Dynasty, including 46 big songs with 278 common names. Some famous Daqu are named after the border region, such as Liangzhou Qu and Qiuci Qu. The most poetic and romantic thing is dancing in clothes and feathers.

The prevalence of Daqu is closely related to the prevalence of Tang poetry. The lyrics of Daqu often intercept fragments of poetry, for example, the word "Yizhou" is taken from Wang Wei's Weicheng Qu. There are also many poems describing Daqu. For example, Bai Juyi's Colorful Feather and Wang Jian's colorful plumage all describe the Daqu "Nishang".

Music and dance in the Tang Dynasty inherited the tradition of the previous generation, merged with foreign fresh air, made great progress, became the peak of Yan music and dance culture, and created music and dance art with high reputation in the history of art, which can be summarized into three categories:

The first category is traditional music and dance Daqu, that is, the inheritance and development of the previous generation of traditional music and dance in the Tang Dynasty. Such as "Shang Qingle" in Nine Music and Ten Music; "Happiness" and "Taiping Music" in The Collection of Sentences of the Ministry of Rites; Soft dance "Night Cry" and so on; "Yushu back garden flower" in the song and dance Daqu; Musical "Step on the Girl", "Brave Lanling Ensemble" and so on.

The second category is music and dance Daqu with country names, place names and ethnic names as music departments or dance names. Such as Xiliang Music, Koryo Music and Qiuci Music. Many music and dances are adapted or transplanted directly by absorbing national music and dances from all over the western regions.

The last category is the newly created music and dance Daqu in the Tang Dynasty, such as broken array music, big set music, famous holy hand music and so on, which absorbed the traditional martial arts. Daqu is a new creation in the Tang Dynasty, and it is a large-scale multi-stage music and dance suite integrating music, dance and poetry.

Music and dance in the prosperous Tang Dynasty combined North and South skills in one furnace and foreign cultures in one furnace. The "Ten Music" is dominated by music and dance in the Central Plains, and most of the others have exotic cultural characteristics of foreign countries and ethnic minorities.