The development of folk music in the Tang Dynasty

Sui and Tang dynasties, the unification of power, especially the Tang Dynasty, political stability, economic prosperity, the rulers pursued an open-door policy, constantly absorbing other cultures, coupled with the Wei and Jin dynasty has been nurtured since the fusion of music and culture of the various ethnic groups to lay the foundation for the music and dance music as the main symbol of the overall development of music and art of the peak finally sprouted. In the Tang Dynasty, the court feast music, called "Yan music".

In the Sui and Tang dynasties, the seven-step music and nine-part music belonged to Yan music. They are the folk music of various ethnic groups and some foreign countries, mainly Qing Shangle (Han), Xiliang (present-day Gansu) music, Gaochang (present-day Turpan) music, Guzi (present-day Kuqa) music, Kang (present-day Uzbek Samarkand) music, Anguo (present-day Uzbek Bukhara) music, Tianzhu (present-day India) music, Goryeo (present-day North Korea) music, etc. Among them, the Guzi music, Xiliang music, Goryeo (present-day North Korea) music, and so on. Among them, Guzi music and Xiliang music were more important. Yan music is also divided into sitting and standing kabuki, and according to Bai Juyi's poem "Standing Kabuki," the level of players of sitting kabuki was higher than that of standing kabuki. The Tang Dynasty Song and Dance Daqu, which was popularized by the Neishang and Hanyu Dance, is a unique and unique piece of Yan music. It inherited the tradition of the Sangho Daigaku, blended the essence of the music of various ethnic groups in the Nine-Part Music, and formed the structural form of the loose sequence - the middle sequence or the beat sequence - the break or the dance all over the place. See in the "Church Records" recorded in the Tang dynasty song name **** there are 46, of which the "Nishang Yuyi Dance" for the famous emperor musician Emperor Tang Xuanzong made, but also elegant style of French music, for the world.

The famous poet Bai Juyi wrote a vivid poem depicting the performance of this great song, "Song of the Neishang Yuyi Dance". The pipa was one of the main instruments in the Tang orchestra. It has been comparable to today's pipa form. Nowadays, the pipa in Fujian Nanqu and Japan still retains some features of the Tang pipa in its form and playing method. Influenced by the music theory of Guzi, the Tang Dynasty saw the emergence of the music theory of eighty-four tones and twenty-eight tones of Yan music. In the Tang Dynasty, Cao Rou also created the guqin notation method of subtractive notation, which has been used until recent times.

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At the end of the Tang Dynasty, there was also a kind of song and dance theater with a storyline, characters and make-up performances, songs and dances, as well as singing and orchestral accompaniment. The Da Mian, Tap Shake Niang, Dial Head, and Senjun Opera were already a small and embryonic form of opera. 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 the pleasure; poets also measured their own writing level by the wide circulation of their poems after they were sung in music. The prosperity of music culture in the Tang Dynasty also manifested itself in a series of music education institutions, such as the Education Workshop, the Pear Garden, the Dale Department, the Drum and Blow Department, and the Pear Garden specializing in the teaching of young children. These institutions with strict performance appraisal, creating a number of talented musicians.