"Every family in Luoyang learns Hu music" reflects the peaceful nature of Chinese civilization. The analysis of the characteristics is as follows:

"Every family in Luoyang learns Hu music when the rooster crows on Chengtou Mountain." In "A Journey to Liangzhou" by the poet Wang Jian of the mid-Tang Dynasty, he described the scene of "the blending of Hu and Han" at that time: in the Liangzhou area, the Hu people who did not know how to farm in the past "learned about physiognomy and now grow grains and millet"; while the people in Luoyang, the eastern capital, , studying Hu Le became a fashion.

Hu music is the name given to the folk music and dance in the north, northeast and northwest of China by the Central Plains in ancient my country, especially the music and dance from the Western Regions. Since Zhang Qian of the Han Dynasty emptied the Western Regions, Hu music from the Western Regions has continuously entered the Central Plains. The melodious transverse flute and the "cold light melts in front of the twelve gates, and the twenty-three silk threads move the purple emperor" have become common in the Central Plains. musical instruments.

In the Han Dynasty Yuefu poem "The Peacock Flies Southeast", it is written that the heroine Liu Lanzhi "played the konghou fifteen times".

The popularity of pipa is inseparable from the contribution of Su Zhipo, a musician from Qiuci in the Western Region (now Kuqa, Xinjiang). Su Zhipo is known as one of the top ten musicians in ancient China. He is not only excellent in pipa skills, but also proficient in music.

During the Northern Zhou Dynasty, he brought music theories such as "Five Dan" and "Seven Tune" from the Western Regions to the Central Plains, laying the theoretical foundation for the famous twenty-eight tunes of Yanyue in the Tang Dynasty, which became a keynote in the development history of ancient music in my country. an important turning point. Many Central Plains people learned pipa techniques from Su Zhipo. Since then, pipa has flourished and is still one of the main national musical instruments in my country.

“The luminous cup of grape wine will prompt you to drink pipa immediately.” In the poetry of the Tang Dynasty, pipa can be seen everywhere.

After the great integration of ethnic groups in the Wei, Jin, Southern and Northern Dynasties, in the Sui and Tang Dynasties, there seemed to be a wave of advocating the music and dance of the Western Regions from the court to the people.

Among the "Nine Music Parts" designated by Emperor Yang of the Sui Dynasty, "Xiliang Music", "Qiuci Music", "Kang Guo Music", "Shule Music" and "An Guo Music" all came from the Western Regions. " records that the court musicians of the Tang Dynasty were divided into four divisions, including the "Qiuci Division" and the "Hu Division". It can be seen that the music of the Western Regions occupies a pivotal position in the music culture of the Sui and Tang Dynasties.

As we all know, the Tang Dynasty was a glorious and colorful dynasty, and its diversity lay in its tolerance for the cultures of all ethnic groups. The magnificent and unique music culture is a manifestation of the prosperity of the Tang Dynasty.

From the transverse flute in "Whose jade flute flies darkly, spreading into the spring breeze all over Luo City", to the various musical instruments in "The Chinese army sets out to drink wine for returning guests, the huqin, pipa and Qiang flute", from the "human world" The objects are incomparable, from the Hu Xuan Dance, where the running wheel is slow and the whirlwind is late, to the Hu Teng Dance, where the rapid movements in the circle are in harmony with the rhythm, and the backhands on the hips are like the moon. There are a large number of existing poems and essays to explain,

The Western Regions Music and dance not only profoundly affected people's spiritual and cultural life at that time, but also profoundly affected the process of Chinese music culture.

Today, we can see a lot about the Tang Dynasty bands and dance actors from the murals in the Mogao Grottoes in Dunhuang, and from the Tang Sancai and pottery figurines unearthed in Xi'an, Turpan and other cities along the Silk Road. The depictions are vivid, full and full of vitality, as if they bring us to that world with flowing sounds and dazzling brilliance.

Since the Tang Dynasty, the integration and mutual learning of music cultures of various ethnic groups has continued. Suona, this musical instrument with Chinese local characteristics, was introduced to the Central Plains through the Western Regions after the Tang Dynasty and gradually became widely accepted. It can be said that some ancient musical instruments have been lost in their place of origin, but they have taken deep roots in the land of China and have become treasures among the Chinese national musical instruments and representatives of Chinese music culture.

For thousands of years, the river of Chinese culture has been surging forward and rushing endlessly because the living water of the cultures of various ethnic groups has continued to flow into it. Since ancient times, ethnic minorities have been good at singing and dancing, and they still maintain this tradition and characteristics today. In TV programs such as "Avenue of Stars" and "Chinese Songs", minority contestants' performances are authentic and original, and are deeply loved by the audience.

Xinjiang Uyghur Muqam art, Mongolian long-melody folk songs, Mongolian Humai singing art, Chinese Korean agricultural music and dance, Dong songs, etc., as well as Kunqu opera and Guqin art originating from the Central Plains, are listed It has been included in the UNESCO Representative List of Intangible Cultural Heritage of Humanity and has become a representative of the outstanding contribution of Chinese civilization to human music culture.

The cultures of all ethnic groups complement each other, and Chinese culture remains everlasting. This is the root of our strong cultural confidence today.