What are nine tunes and ten tunes?

Most of the programs included in the seven-part, nine-part and ten-part are folk music and dances from all over the country. Hong used place names and country names as the names of the music department, which kept quite strong national and local colors. Although used for court banquets and ceremonies, they all come from the people. Its formulation, addition, deletion and change are as follows:

At the beginning of the Sui Dynasty (58 1 to 600 AD), the emperor made seven pieces of music, including: 1. Ji Guo; Second, "Shang Qing Ji" (that is, traditional music and dance in Han Dynasty); 3. Korean Geisha; Fourth, Tianzhu Geisha; Five, "One Ji Guo"; Sixth, "Ju Chi"; Seven, "Wen Kang Ji" ("Pear Flower", Korean "Masked Dance").

Yang Di Daye (AD 605-6 18) added Guo Kangji and Le Shu Ji, which became nine pieces of music. And put "Le Qing" in the first place, and changed "Ji Guo" into "The Story of the West Cool".

Wu Dechu, Tang Gaozu (AD 665438+08, 626), inherited the nine songs of Sui Dynasty, and followed the music system and dance system. In the eleventh year of Emperor Taizong's Zhenguan (637), Li Hua was abolished; In November of the sixteenth year of Zhenguan, a banquet was held to play "Gao Chang Ji Ci". Since then, it has become ten pieces of music, including "Yan Yue"; Second, Le Qing; Third, "West Cool Music"; Fourth, Tianzhu music; 5. "Koryo Music"; 6. Qiuci music; 7. One Guo Le; Eight, Shule Le; Nine, "Kang Guole"; X. "Gao Changle".

Judging from the arrangement of ten pieces of music, except Yan Music and Qing Music, the other eight capitals are brothers and foreign music and dance. It seems that foreign music and dance account for a lot, but it is not. As a traditional music and dance of the Han nationality, Qing Yue was partially lost in the court during the reign of Wu Zetian (690-705), but 63 songs were still preserved. There are only more than twenty other eight kinds of foreign music and dances, accounting for only one third of Le Qing. Therefore, in the arrangement of the music department, although Le Qing only accounts for one, it contains quite rich programs.

In the early Tang Dynasty, brothers and foreign music and dances mostly gathered in the Central Plains with their original features, which was a stage in which various music and dances gradually absorbed and merged with each other. Nine songs and ten songs reflect the general trend of this dance development to some extent.

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