Music institutions during the Sui and Tang Dynasties were established to adapt to the high development of court Yan music, adapt to the social development and political systems of past dynasties, and adapt to the prosperity of musical activities in the court and civil society. Over the long history, the continuous improvement of its system has promoted the vigorous development of music education activities, cultivated many musical talents, and accumulated rich reference materials for future generations in terms of education, performance, organization, management, etc. historical experience.
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First talk about the origin and development of Yan music
The music institutions in the Sui and Tang Dynasties were adapted to the court Yan music Established due to the high development of the Han Dynasty, Yan music is the palace Yan music. Yan music specifically refers to the music used by the emperor and princes to entertain guests. It comes from the continuous accumulation of traditional music of the Han nationality and the large-scale import of foreign music since the Han and Wei dynasties. In essence, It is the inevitable product of the essence of the music culture of my country's feudal society based on long-term precipitation and catalyzed by certain political, economic and social conditions. The nine-part music of the Sui Dynasty continued to be used in the court Yan music, and it was increased to ten parts by the time of Emperor Taizong of the Tang Dynasty. "At the beginning of the emperor's reign, seven groups of music were established: the first is Guoji, the second is Qing Shangji, the third is Goryeo, the fourth is Tianzhu, the fifth is Anguo, the sixth is Qiuci, and the seventh is Wenkang. "During the reign of Emperor Yang of the Sui Dynasty, two more music clubs, Kangguo and Shule, were added. This was the court Yan music system of the "Nine Music Music" in the Sui Dynasty.
At first, the Yanle system of the Tang Dynasty palace completely inherited the Yanle system of the Sui Dynasty. "After Gao Taizu ascended to the throne, the banquet was based on the old Sui system, with the music of the Nine Departments." By the eleventh year of Zhenguan (637), Emperor Taizong of the Tang Dynasty, it was abolished. In the 14th year of "Li Bi", "Yan Yue" was listed as the first part, thus forming the "Nine Parts of Music" in the Tang Dynasty.
The "Yan Yue" in the "Nine Music Departments" of the Tang Dynasty is different from the broad meaning of palace Yan music, but a specific name of the music department. During the Zhenguan period, "the scenery and clouds appeared and the river water was clear". Xielu Lang Zhang Wen collected and produced "Jingyun River Qingge", called "Yan Yue". This is a music and dance that promotes the achievements of the emperor and praises the peaceful and prosperous times. It is generally performed on solemn occasions. There is a saying in philosophy: The economic base determines the superstructure. So music, as an art and a culture, must also be based on a certain material foundation. If you can't even eat, and you can't even solve the problem of survival, think about it, will anyone still create music and engage in music education? Therefore, the music of the Tang Dynasty was first of all based on the social development background and social development, so music can make better progress.
The development and establishment of music institutions in the Sui and Tang Dynasties
When talking about the music institutions in the Tang Dynasty, we have to mention Taichang Temple. Taichang Temple was the highest administrative agency in charge of rituals and music in the Tang Dynasty. It is under the supervision of Taichang Qing and is very large in scale. This is recorded in ancient books: "In the heyday of the Tang Dynasty, all the music people, the sound people, and the children of Taichang's miscellaneous households, who were subordinate to Taichang and those who advocated the heat, were all on the throne, and the total number of sound people was tens of thousands." At that time, the entire population of the Tang Dynasty was only 50 million, and Guangtaichang Temple had tens of thousands of people. Think about it, this ratio was absolutely unprecedented in feudal society. There are two institutions under Taichang Temple. The first is the Great Music Department. The Da Le Department is in charge of the training and assessment of music artists. It is in charge of both "Yale" and "Yan Le", and has several musicians within it to teach. At that time, the government had a very strict system for the training and performance assessment of music artists. The second Propaganda Department, as the name suggests, is the unit that manages percussion music. It is in charge of the persuasion music used in ceremonial activities and palace etiquette activities, and also manages Baixi (a general term for various operas, music and dances in ancient times).
The Jiaofang is an organization that manages musicians and leads artist performances. At the beginning of the founding of the People's Republic of China, Emperor Gaozu of the Tang Dynasty established the Neijiaofang, which was under the jurisdiction of Taichang Temple and belonged to the specially designed music education department within the palace with the purpose of providing entertaining song and dance performances for the emperor. According to records in "Jiaofang Ji", the members of the Jiaofang include men, women, and children, and the total number can reach more than 10,000. During the reign of Emperor Xuanzong of the Tang Dynasty, special attention was paid to Jiaofang, a professional music education institution, and the scale of Jiaofang was greatly expanded.
The establishment of the teaching workshop objectively provided various conditions for the continuous development of folk music, promoted the division of musical labor, trained a large number of court musicians, and gradually spread music skills to the people, promoting the development of folk music. The development of music.
The Pear Garden got its name from the pear garden located near the Forbidden Garden. "In the second year of Kaiyuan, when there was nothing to do in the world, I had time to attend to the affairs of state. I taught myself Dharma music in the Liyuan, and I will do it to the best of my ability. I am called the emperor's disciple in the Liyuan.
"The Liyuan was a place for cultivating singing and dancing talents and instrumental performance talents in the palace. It was established by the emperor himself and often organized rehearsals by the emperor himself. Most of the music education content in the Liyuan was French music, and there were also some instrumental ensembles. Most of the creations of Emperor Xuanzong of the Tang Dynasty also involved Performing in the Liyuan. It can be said that it is the place where the essence of palace music and art is concentrated.
Overall, more complete music forms and contents must have high-level musical talents; it is highly prosperous. The music culture is a significant symbol and best explanation of the achievements of music talent training. Therefore, music education provided an important foundation and favorable conditions for the music culture of the Tang Dynasty, which not only promoted the prosperity of music in the Tang Dynasty, but also exerted influence on future music development. Positive influence.
Describe the characteristics of music education in the Sui and Tang Dynasties
The Sui and Tang Dynasties were a golden period for the development of Chinese music. The ruling class implemented an opening policy, which promoted the exchange of music culture. and development, and brought Chinese music to the world. In the new century, with the emergence of the global village phenomenon, exchanges with countries around the world have become more frequent. While inheriting and developing the precious musical cultural heritage left by our ancestors, we absorb and learn from foreign countries. The excellent culture has been continuously integrated to form a new culture, allowing Chinese music to shine again on the world stage.
First, extensive exchanges: North-South, Chinese and foreign music have opportunities for extensive exchanges. What he said - "The Tang Dynasty not only maintained close ties with neighboring countries such as Tianzhu and Goryeo, but also carried out extensive economic and cultural exchanges with Central Asia, the Persian Gulf, and Arab countries. "
Second, it is social: social music activities are widely carried out, whether in the palace or in society, music education activities have developed greatly. "Chengtou Mountain" in "Liangzhou Journey" The rooster crows, every family in Luoyang learns Hu music" is a true depiction of the popularity of music education at that time. In addition, under the personal advocacy of Emperor Xuanzong of the Tang Dynasty, the love of "Liu Mo Shui Tune is sung by every family, and white snow plum blossoms are blown everywhere" Music situation.
Thirdly, music education activities were very developed, and government-run music education activities were gradually completed, cultivating a large number of music talents.
The establishment of music institutions and music education during the Sui and Tang Dynasties were very important. It had a profound influence on later generations. This kind of professional and systematic music education institution is comparable to today's music conservatories, and it still has great inspiration and reference significance for the development of today's national music education.