1500 words Music history from Qin and Han Dynasties to Sui and Tang Dynasties.

"Yuefu" began to appear in Qin and Han Dynasties. It inherited the collection system of Zhou Dynasty, collected, sorted out and changed folk music, and also concentrated a large number of musicians to perform at banquets, suburban sacrifices and celebrations. These lyrics used for singing are called Yuefu poems. Yuefu, later extended to refer to all kinds of lyrics with or without music, and even some operas and instrumental music are also called Yuefu. The main form of songs in Han Dynasty is Song Xianghe. From the initial oratorio of "one person singing, three people harmony", it gradually developed into "Hehe Daqu" accompanied by silk and bamboo instruments, with a "gorgeous-inclined-chaotic" musical structure, which had an important influence on Song and Dance Daqu in Sui and Tang Dynasties.

In the Han dynasty, drum music rose in the northwest frontier. It consists of different wind instruments and percussion instruments, such as cross blowing, riding blowing, yellow door preaching and so on. They are played on horseback or on the move, and are used for military music etiquette, court banquets and folk entertainment. The folk percussion music that exists today should have the legacy advocated by the Han Dynasty. In the Han dynasty, there was also a "hundred operas", which integrated song and dance, acrobatics and wrestling (sumo). The achievement of jurisprudence in Han Dynasty is that Fang Jing divided octaves into sixty laws by the method of three-point profit and loss. Although this theory is meaningless in music practice, it embodies the subtlety of legal thinking. Theoretically, the effect of fifty-three average law is achieved.

Three Kingdoms, Jin Dynasty, Southern and Northern Dynasties

Shang Qing music, which developed from Song Xianghe, was attached great importance by the northern Cao Wei regime, and the Shangqing Department was established. The war at the turn of Jin Dynasty made the music of Qing merchants flow into the south, and merged with Wu Ge and opera in the south. In the Northern Wei Dynasty, this kind of Shang Qing music, which was integrated with the North and the South, returned to the North and became an important music spread throughout the country. Since the Han Dynasty, with the smooth flow of the Silk Road, songs from western countries began to spread to the mainland. During the Northern Liang Dynasty, Lv Guang brought Qiuci (now Kuche, Xinjiang) music, which played an important role in Yan music in Sui and Tang Dynasties, to the mainland. This shows that the communication between people of all ethnic groups in music was very common at that time. At this time, Guqin, the representative instrument of traditional music culture, has matured, mainly in the following aspects: Cao Qin, a monograph on Guqin in Han Dynasty, explained the title of Qinle. Ji Kang, a famous pianist in the Three Kingdoms period, recorded in his book Cao Qin that "the emblem is Zhongshan jade". This shows that people at that time already knew the appearance of overtones on the guqin emblem.

At that time, a large number of literati musicians appeared one after another, such as Ji Kang and Ruan Ji, and a number of famous tracks such as Guangling San (Jing Ke stabbed Qin Wang), Cao and Drunk came out. At the end of the Northern and Southern Dynasties, there was also a popular musical, with story lines, roles and makeup performances, singing and dancing, and accompaniment and orchestral accompaniment. This is already a small embryonic opera. Important legal achievements in this period include Xie Xun's discovery of the "positive hole number" of wind instruments in the Jin Dynasty. In the Southern Song Dynasty, He Chengtian created a new law which is very close to the law of twelve averages by the method of arithmetic superposition. His efforts initially solved the problem that Huang Zhong could not restore the three-point profit and loss law.

Sui and Tang Dynasties

During the Sui and Tang Dynasties, the regime was unified. Especially in the Tang Dynasty, political stability and economic prosperity, the rulers pursued an open policy and dared to absorb foreign cultures. In addition, the fusion of various ethnic music cultures since the Wei and Jin Dynasties laid the foundation, and finally sprouted the peak of all-round development of music art with song and dance music as the main symbol.

The music enjoyed by the court in the Tang Dynasty was called "Le Yan". Seven songs and nine songs in Sui and Tang Dynasties belong to Yan Music. They are folk music of various nationalities and some foreign countries, mainly including Shang Qing music (Han nationality), Xiliang music (now Gansu), Gaochang music (now Turpan), Qiuci music (now Kuqa), Guo Kang music (now Samarkand, Russia), Anguo music (now Bukhara, Russia), Tian Tian music (now India) and Koryo music (now North Korea). Among them, the more important ones are Qiuci Music and Xiliang Music. Yanle can also be divided into Zuobi and Bailey. According to Bai Juyi's poem Bailey, the performance level of his left arm is higher than Bailey's. The popular song and dance Daqu in Tang Dynasty is a wonderful flower in Yan music. It inherits the tradition of Xianghe Daqu, and integrates the essence of national music in nine pieces, forming a structural form of scattered sequence-middle sequence or beat sequence-breaking or dancing all over. There are 46 Tang Daqu's in Jiao Fanglu, among which "Dancing in Dress and Feather" is praised by the world because of its elegant style, which was written by the famous imperial musician Tang Xuanzong. Bai Juyi, a famous poet, wrote a vivid poem "Yi Yu Dance Song" to describe the performance process of this Daqu.

The prosperity of music culture in the Tang Dynasty is also manifested in a series of music education institutions, such as teaching workshops, pear gardens, big music departments, preaching departments and pear gardens dedicated to teaching young children. These institutions have trained a batch of talented musicians through strict performance assessment. Tang poetry, a must in the history of literature, was able to sing and laugh at that time. At that time, geisha often sang famous poems quickly; After entering the profession, poets also measure their writing level by the popularity of poems. Pipa is one of the main musical instruments of the band in Tang Dynasty. Its shape is almost the same as today's pipa. Nowadays, Fujian Nanqu and Japanese Pipa still retain some characteristics of Tang Pipa in shape and playing method. Influenced by Qiuci's music theory, the 84-tone and 28-tone music theory of Yan music appeared in the Tang Dynasty. In the Tang Dynasty, Cao Rou also founded the Guqin notation of subtraction notation, which has been used until modern times.