Music with foreign "content" and "style" is not very familiar to people in the Tang Dynasty, and it is this kind of music that constitutes a remarkable feature of music in the seventh century. By the eighth century, this fake music was replaced by genuine foreign music. Since the eighth century, the pop music of the Tang Dynasty sounds almost no different from the music of the countries in Central Asia. The famous "colorful plumage" always reminds us of Xuanzong of the Tang Dynasty-Xuanzong was a music lover, and it is said that there were 3, musicians in his court-but in fact, this piece of music is just an adaptation of the "Brahman Music" of the Western Regions. The musical styles of Qiuci, Gaochang, Shule, Anguo 12, Kangguo, Tianzhu and Korea were thus integrated with traditional music under the official protection of the Tang Dynasty. In the ninth century, classical music 13, which was solemn and solemn, began to be emphasized again in the court, thus cutting off the trend of foreign influence. Although some Indian zhina music, especially the music of Siguo and Nanzhao, was brought into the Tang Dynasty, they did not seem to have much influence on the music of the Tang Dynasty.

Among all the western music cultures, Qiuci music has the greatest influence on the music of the Tang Dynasty, far exceeding other music. In particular, the "drum dance music" in Qiuci music is a kind of music appreciated by refined customs in the Tang Dynasty. The musical instruments played by Qiuci musicians were also highly appreciated by people in the Tang Dynasty. One of the most important Qiuci musical instruments is the Qiuci four-string lute. The twenty-eight tones of popular music in the Tang Dynasty are based on the techniques and forms of the four-string lute, and the melody of the twenty-eight tones is also developed from this. BaBa and the flute also played an important role in Qiuci musical instruments, so they were also very popular in the Tang Dynasty. However, among all the Qiuci musical instruments, the favorite of the people in the Tang Dynasty is a small and painted "Jiegu" 18. When playing the Jie drum, you can not only hear the sonorous and exciting music from the Jie drum, but also enjoy the foreign songs sung with the music of the Jie drum-but most of these Sanskrit songs are mispronounced. Like other dignitaries, the great Tang Xuanzong himself was an expert in playing Jie Gu.

In the music of the Tang Dynasty, the most famous is "Xiliang Music" which is mixed with various components. Xiliang is the name of a frontier town. In the Tang Dynasty, it was actually called Liangzhou. Xiliang music is a wonderful mixture of Qiuci music and traditional China music. It is played with some extremely discordant instruments such as the Qiuci Pipa and the classical stone chime. Poets after the eighth and ninth centuries all admired Xiliang music.

The music of neighbors in the north of the Tang Dynasty sounds "desolate" and "rough", and the influence of northern music on the music of the Tang Dynasty is almost entirely confined to military music. These "advocacy" music 112 in the north are played with big horns, drums, cymbals and other musical instruments. The music played with drums is exciting and moving, which is most suitable for court celebrations, formal triumphal ceremonies and other occasions with patriotic atmosphere. There are many ways for music originating in India to be introduced into China. Apart from Central Asia, there are also countries in India and zhina, namely Yi Lin, Fu Nan and. These countries also contributed their orchestral music and maiko to the Tang Dynasty. Most of the tracks played by Indian musicians in zhina are mainly from Buddhist classics, such as "Fo Yin", "Fighting Sheep" and "Peacock King".

Although these kinds of music, which were deeply loved by the people of the Tang Dynasty, are now extinct in the Asian continent, some of them still remain in the Japanese court through changed and rigid dance forms. In the 2th century, Japanese court musicians and maiko, as well as Japanese classical music lovers, could perform these dances. These orchestral instruments, which are left in the Japanese court and accompanied by Tang music, are certainly very close to those of the Tang Dynasty. They are composed of three groups of musical instruments: the first group is woodwind instruments, including the flute, the cymbals and the "harmonica", which are used to express the melody in the high-pitched area, and it can also use harmony to enhance the playing effect; The second group is percussion instruments, including cymbals, a small "Jie drum" placed on a drum stand, and a "big drum" suspended in a scarlet frame with gold and Huang Cancan at the top; The third group is bass strings, namely Zheng 116 and Pipa. The music played by these orchestral instruments can be divided into obviously different parts, usually including a free and soothing prelude, which determines the mode of the music according to the tone set by the harmonica, followed by an unfolding part and a sudden ending 117. In the 19th century Japanese music score, a Tang Dynasty music and dance called "Jialingpinjia" 118 was preserved, and this music and dance is still being performed. Jialingpingjia is the name of a divine bird in the Buddhist heaven. It is said that this piece of music was leaked to mankind by an angel. Jialingpinjia was originally created in India, and later it may have spread to China 119 through Yi Lin, and finally to Japan. In the ninth century, Jialingpingjia was quite popular in Japan. Yizong lived in Xian Tong for two years (861), and even when the opening ceremony was held for the head of Pilu Zhena Buddha in Todo Temple in Nara, Japan, a performance of Jialing Pingjiale Dance was also performed. At that time, a Chinese dancer who had emigrated performed the dance, and a flute player played Yi Lin-style new music. Japan's Jialing Pinga dance is performed by four boys with wings and crowns. The performers beat the cymbals, imitating the trembling and wonderful songs of the birds in Jialing. Another Tang Dynasty music and dance that was still performed in Japan at that time was called "Toutou" 123. This dance shows a young man with long hair in a plain clothes, looking for the beast that devoured his father. Like Kalingpega, the head-pulling dance was introduced to Japan through the Tang Dynasty, but like Kalingpega, it originally originated from Indian music and dance. Music and dance that spread to Japan through the Tang Dynasty also included "Drunken Hule", "Broken Array Music" and "Playing Music". Drunk Hu Le shows the image of a drunken Hu chieftain. Breaking Chen Le shows the deeds of Shiva, a ferocious god, while playing music reflects the scene of Polo ball game. However, among all the music and dances that were introduced to Japan from the Tang Dynasty, the most novel and interesting is the "throwing Hu and begging for cold". This is a kind of dance performed during the winter solstice. The performers are a large group of naked Hu people and young Han people. They wear strange masks, jump and dance in the noise of drums, pipa and crickets, splash each other with cold water, and also splash water on passers-by. For the citizens of the Tang Dynasty who lived in a state of morality and etiquette, this kind of vulgar performance is really an indecent thing. Therefore, in December of the first year of Kaiyuan (the beginning of 714), Emperor Xuanzong of the Tang Dynasty announced an edict forbidding 126 dramas of splashing Hu and begging for cold.

judging from the discussion caused by foreign music in the Tang dynasty, people in the Tang dynasty generally don't think that the performances of acrobatics and illusionism are inferior to these music. The performances of various artists, such as Phantom Man, Rope Walkers, Soft Walkers, Fire Swallowers and Dwarf Walkers, are called "Sanle" 127. Many Sanle artists came from Turkestan and India to cities all over the Tang Dynasty. In the temples of God in Liangzhou and Luoyang, there are often magic performances held regularly, some of which are obviously self-mutilation. Although the Tang Dynasty officials generally adopted a default attitude towards illusion performances, and emperors like Xuanzong even adopted an encouraging attitude, the performances of these charlatans from foreign countries were sometimes banned by the authorities. For example, when he was in Tang Gaozong, Emperor Gaozong ordered the repatriation of a Boruomen conference semifinal. The reason for the expulsion is that he "stabbed the stomach with a sword and cut his tongue with a knife to confuse the people, which is extremely unreasonable." Moreover, the emperor also ordered that "the border States should still be bound, and if they still have this color, they need not be sent to the DPRK."