Brief introduction of foreign music and its historical influence in Sui and Tang Dynasties

Shang Qing Music, Xiliang Music, Tianzhu Music, Koryo Music, Qiuci Music, Anguo Music, Shule Music, Guo Kang Music and Gaochang Music.

Judging from the development of music culture in Sui and Tang Dynasties, it grew unprecedentedly. In its music culture, it absorbs and draws lessons from many excellent foreign music cultures, and at the same time, it also has a great influence on other countries.

The Silk Road played an important role in the exchange and integration of Chinese and foreign music cultures during the Sui and Tang Dynasties. During the Western Han Dynasty, Zhang Sai made two missions to the Western Regions, which opened up land transportation between China and the West across Asia and opened up an important transportation line called "Silk Road" by Chinese and foreign historians. From Wei and Jin Dynasties to Sui and Tang Dynasties, the "Silk Road" gradually expanded from land to sea. By the Tang Dynasty, there were already many smooth international transportation lines. Land can reach Central Asia, West Asia, Pakistan, India, Nepal, Myanmar, Korean Peninsula and other places; The sea can reach Java, Sri Lanka and India in Indonesia; It can cross the Indian Ocean and Arabian Sea in Southeast Asia to reach the Persian Gulf coast; There are three routes to Japan. In addition, maritime traffic to Egypt and East Africa has been initially opened. The "Silk Road" on land and at sea has lasted for thousands of years, and has become a link between ancient civilizations, enabling China's music with foreign countries and foreigners to communicate with Chinese and foreign music cultures unimpeded along this important channel.

During the Sui and Tang Dynasties, China music also influenced foreign countries. Due to the strong national strength of Sui and Tang Dynasties, various countries sent envoys to China successively. Their main task is to learn China culture and bring it back to their own country. Among these countries, Japan is the most affected. During the nearly 300 years from the 20th year of Emperor Gaozu (600 years) to the first year of Tang Zhaozong's Ganning (894 years), the Japanese sent "envoys in Sui Dynasty" and "envoys in Tang Dynasty" to China 22 times, and the number of people coming to China was different each time. In the mid-Tang Dynasty, the organization scale of diplomatic envoys in Tang Dynasty was particularly grand. Many foreign students brought back precious music scores and musical instruments from China. The four major wind instruments of the Tang Dynasty, namely, the red sandalwood pipa, the red sandalwood five-stringed pipa and the red sandalwood Ruan-stringed instrument, which are still collected in Masakura, Japan, were all introduced to Japan together with other instruments in the Tang Dynasty. On the other hand, due to the inconvenient maritime traffic at that time, many China musicians who went to Japan could not return home, which played an indelible role in the development of japanese pop culture. After Yan Yue was introduced into Japan in the Tang Dynasty, it attracted much attention and became the "elegant music" in Japan. Today, this kind of music still plays a huge role and becomes a symbol of Japanese national music. Our country's Qin was also introduced to Japan in the Tang Dynasty. Qin is very popular in the Japanese court, and it is played in almost every musical performance. Orchid-The music score of Tang Juan's Jie Shi Tune Orchid is still preserved in Japan, which is the oldest guqin script we can see today. China music also has a great influence on Korean music. As early as the early years of the Tang Dynasty, North Korea had sent overseas students to study in the Tang Dynasty. At the beginning of the 20th century, Korean music was divided into two categories: Tang music and country music. The musical instruments in Tang Le are the same as those in China, and most of the instruments in country music are copied from China.

Sui and Tang Dynasties were the golden age of China's music development. The ruling class carried out the policy of opening to the outside world, which promoted the exchange and development of music culture and made China music go to the world. Today in the new century, with the appearance of the global village phenomenon, the exchanges between countries in the world are more frequent. While inheriting and developing the precious musical cultural heritage left by our forefathers, we absorb and learn from foreign excellent cultures, and constantly merge to form a new culture, so that China's music can shine again on the world stage.