What was the music of the Tang Dynasty court banquets called?

The Tang Dynasty, China's unprecedented stability, economic prosperity, the rulers pursued a policy of openness, the courage to absorb foreign cultures, coupled with the Wei and Jin dynasty has been nurtured by the fusion of the musical culture of all ethnic groups to lay the foundation, finally sprouted to the song and dance music as the main symbol of the music and art of the peak of the overall development.

The music of the Tang court feasts was called "Yan music". The seven-part music and nine-part music of the Sui and Tang dynasties belonged to Yan music. They are the folk music of various ethnic groups and some foreign countries, mainly Qing Shang music, Xiliang music, Gaochang music, Guzi music, Goryeo music, etc. Among them, Guzi music, Xiliang music, Goryeo music, Goryeo music, Goryeo music and so on. Among them, Guzi music and Xiliang music are more important. Yan music is also divided into sitting part of the kabuki and standing part of the kabuki performance, according to Bai Juyi's "standing part of the kabuki" poem, sitting part of the kabuki player level is higher than the standing part of the kabuki. The popular Tang Dynasty Song and Dance Dagong is a unique and unique piece of Yan music. It inherited the tradition of Xianghe Daqu and blended the essence of the music of all ethnic groups in the Nine-Part Music, forming the structural form of loose sequence - middle sequence or beat sequence - broken or danced all over. At that time, Tang poetry, which is one of the best in the history of literature, could be sung in music. At that time, kabuki used to sing famous poems for pleasure, and poets also measured their writing level by how widely their poems were circulated after being sung to music. The pipa was one of the main musical instruments in the orchestras of the Tang Dynasty, and its shape was similar to that of today's pipa. Nowadays, the pipa of Fujian Nanqu and Japan still retains some features of the Tang pipa in its form and playing method. Influenced by the music theories of Guzi, the Tang Dynasty saw the emergence of the 84-tone and 28-tone Yanle music theories. In the Tang Dynasty, Cao Rou also created the guqin notation method of subtractive notation, which has been used until recent times.

Bearing the legacy of the Sui and Tang dynasties, the Song Dynasty saw an unprecedented development of lyric music. This literary genre of singing in short and long sentences can be divided into the form of words, such as introduction, slow, near, beat, order and so on. In the technique of filling in the words, there were already "spreading out", "reducing the words", "stealing the sound" and so on. Jiang Kui (姜夔) of the Southern Song Dynasty was a famous lyricist and musician who could compose lyrics as well as songs according to his lyrics. He had seventeen of his own compositions and one zither song "Ancient Grievances" with a reduced character score. These compositions express the author's concern for the people of his motherland and depict a tranquil and melancholic mood, such as Yangzhou Slowly, Plum Order of Lixi, and Shadow of Apricot Blossom Sky, and so on. The guqin music of the Song Dynasty was preceded by Guo Chuwang's masterpiece Xiaoxiang Shuiyun, which is the first of its kind in the guqin genre. The work expresses the author's love for the mountains and rivers of his motherland. In the development of bowed string instruments, the Song Dynasty saw the emergence of the "Horsetail Huqin". In the Yuan Dynasty, the emergence of the three-stringed folk instrument is worth noting. In the theory of music, there was a record of the Yan music scale in the Song Dynasty. At the same time, the early form of the Gongshi musical notation appeared in Zhang Yan's Etymology and Shen Kuo's Mengxi Bianan. The modern popularity of a kind of Gongshi music score is directly derived from this time.