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The reason why Yan music was so prosperous in the Tang Dynasty has a lot to do with the establishment of the "Jiaofang" institution in the palace to train and manage music performers. The Jiaofang was first established during the Wude reign of Emperor Gaozu of the Tang Dynasty. In the second year of Emperor Ming's reign in the Tang Dynasty, there was an "internal teaching workshop" in the inner garden of Penglai Palace; there were two "foreign teaching workshops" outside the Forbidden City and in Luoyang, Tokyo.
The main mission of the workshop is to cultivate music and dance talents and teach and rehearse singing, dancing and music. Artists in the studio are divided into several levels according to their voice and color skills: daughters of common people are selected to join the studio to learn how to play pipa, harp, zither and other musical instruments, and are called "players"; ordinary kabuki performers are called "palace"; Those who have the highest level and often perform in front of the emperor are called "concubine" or "front-end person". The number of concubines is small, and performances are often supplemented by palace servants and dancers. Therefore, during rehearsals, my wife often plays the role of demonstration, lead dance and holding the line in front or behind the singing and dancing queue.
During the reign of Emperor Xuanzong of the Tang Dynasty, the number of geishas in the jiafang had been greatly expanded. In the jiafang in Chang'an alone, there were more than 10,000 geishas. According to the records in Tang Cui Lingqin's "Jiaofang Ji", each Jiaofang has accumulated as many as 325 works of music, dance, and Sanyue and various operas of various ethnic groups. Among them, "Yizhou", "Lanling King", "Spring Orioles [zhuànzhuan]", "Zhezhi", "Daweizhou", "Treading the Rocking Mother", "Wu Ye Ciao", "An Gongzi", Songs and dances such as "Flowers in the Backyard of Yushu", "Xihe Swordsman", "Hemanzi", "Green Waist" and "Liangzhou" were all rehearsed by Jiaofang artists and performed in the palace. They were very popular among the officials. Pay attention to.
The prosperity of "Faqu" in Yan music in the Tang Dynasty was closely related to the establishment of another musical institution in the court, "Liyuan".
The Liyuan is a music, singing and dancing teaching place set up by Emperor Xuanzong of the Tang Dynasty in the inner court. It was named because it was located in the fruit orchard of the palace forbidden garden. Li Longji, Emperor Xuanzong of the Tang Dynasty, who personally started the establishment of the Liyuan, was a versatile musician who appeared as an emperor in China's feudal society. He "knows the rhythm", "any silk pipe must be made wonderfully", and can "make tunes" , "It can be done at will", even the great ancient musicians Kui and Shi Kuang "can't pass it". Emperor Xuanzong of the Tang Dynasty "loved French music". In the second year of Kaiyuan, he selected 300 disciples from Zuobu Ji to teach in Liyuan, and personally served as the music coach. Anyone who "made mistakes in their voice" would "surely realize it and correct it", and these artists also He was known as the "Emperor's Liyuan Disciple". In addition, he also selected hundreds of people from the palace ladies to live in the North Courtyard of Yichun to learn music, singing and dancing. These musicians were also called "Liyuan disciples". The Liyuan institution also has more than 30 "Xiaobu Yinsheng" members, which is a children's music team composed of children under the age of 15. The programs rehearsed in the Liyuan were mainly French music, and these French music were mainly works by Emperor Xuanzong of the Tang Dynasty.
In addition to the Liyuan in the palace, there is also a "Liyuan Academy" in Chang'an and a "Liyuan New Academy" in Luoyang. The former learns French music and rehearses new songs, with about 1,000 people in attendance; the latter performs ordinary folk music, with more than 1,500 people. Among them, those with outstanding skills are transferred to the workshop.
The Jiaofang and Liyuan in the Tang Dynasty produced a group of outstanding music and dance performance talents, which not only injected fresh blood into the development and prosperity of the music and dance of various ethnic groups in the Tang Dynasty, but also spread among the people due to the alternation of outstanding artists. , also played an important role in promoting the development of Chinese secular music that cannot be underestimated. The artistic career of the woman in Bai Juyi's "Pipa Xing" who sung "The boss marries a merchant's wife" is a typical example of this.