sui and Tang dynasties saw the unification of political power. Especially in the Tang Dynasty, with political stability and economic prosperity, the rulers pursued an open policy and dared to absorb the culture from other cities. In addition, the integration of music cultures of all ethnic groups that had been gestated since the Wei and Jin Dynasties laid the foundation, and finally the peak of all-round development of music art with song and dance music as the main symbol sprouted. The music enjoyed by the court in the Tang Dynasty is called "Yanle". Seven-step Music and Nine-part Music in Sui and Tang Dynasties belong to Yan Music. They are folk music of various ethnic groups and some foreign countries, mainly including Qingshang Music (Han nationality), Xiliang Music (now Gansu), Gaochang Music (now Turpan), Kucha Music (now Kuche), Kangguo Music (now samar Han in Russia), Anguo Music (now Bukhara in Russia), Tiantian Music (now India) and Koryo Music (now North Korea). Among them, Qiuci Music and Xiliang Music are more important. Yan music can also be divided into Zuobi and Libei. According to Bai Juyi's poem Libei, the performance level of Zuobi is higher than that of Libei. The popular song and dance Daqu in Tang Dynasty is a unique flower in Yan music. It inherits the tradition of Xianghe Daqu, integrates the essence of all ethnic groups' music in the nine pieces of music, and forms a structural form of scattered sequence-middle sequence or beat sequence-breaking or dancing all over. There are 46 titles of Tang Daqu recorded in Jiaofang Lu, among which "Dancing in Dress and Feather" is praised by the world because of its being written by the famous emperor musician Tang Xuanzong and its elegant French style. Bai Juyi, a famous poet, wrote a vivid poem "Dancing Song of Dress and Feather" describing 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, advocacy departments and pear gardens that specialize in teaching young children. With strict performance appraisal, these institutions have produced a batch of talented musicians. Tang poetry, which is a must in the history of literature, could be sung with joy at that time. At that time, geisha used to be quick to sing famous poems; Poets also measure their writing level by the popularity of their poems after they enter music. Pipa is one of the main musical instruments in the band of Tang Dynasty. It has almost the same shape as today's pipa. At present, Fujian Nanqu and Japanese Pipa still retain some characteristics of Tang Pipa in shape and playing method. Influenced by Qiuci's music theory, the music theory of eighty-four tones and twenty-eight tones of Yan music appeared in the Tang Dynasty. In the Tang Dynasty, Cao Rou also founded the Guqin notation of subtractive notation, which has been used until modern times.

Song, Jin and Yuan Dynasties

The development of music culture in Song, Jin and Yuan Dynasties was marked by the prosperity of citizen music, which developed more deeply than that in Sui and Tang Dynasties. With the prosperity of urban commodity economy, amusement parks "Washe" and "Goulan" adapted to the cultural life of the citizens came into being. In "Washe" and "Goulan", people can hear the singing of artistic songs such as singing, singing, singing and earning. You can also see rap music types, such as Cliff Ci, Tao Zhen, Drum Ci, Zhugong Tune, as well as performances of zaju and Yuanben. It can be said that the flowers are blooming. Among them, the two musical structures of tangling and tangling have a certain influence on the musical structure of later operas and instrumental music. While the drum lyrics influenced the rap music drum lyrics of later generations. Zhugong tune is a large-scale rap genre that matured in this period. Among them, singing accounts for a heavy weight. Inheriting the legacy of the development of Quzi Ci in Sui and Tang Dynasties, the tune music in Song Dynasty achieved unprecedented development. This kind of singing literary genre of long and short sentences can be divided into the forms of quotation, slowness, proximity, beat, order and so on. There have been "spreading", "reducing words" and "stealing voices" in the technique of lyrics. In the Southern Song Dynasty, Jiang Kui was a famous lyricist and musician, who could not only compose lyrics, but also compose music according to the lyrics. He has 17 self-directed songs and a piano song "Ancient Hatred" with a substratum handed down from generation to generation. Most of these works express the author's concern for the people of the motherland, and depict a quiet and sad artistic conception, such as Slow Yangzhou, Mei Ling of Wanxi, Ying of Apricot Flowers, and so on. Guqin music in Song Dynasty started the Guqin genre with Chuwang Guo's masterpiece Xiaoxiang Shuiyun. The work shows the author's interest in loving the mountains and rivers of the motherland. In the long development of bowstring instruments, the record of "ponytail huqin" appeared in Song Dynasty. In the Yuan Dynasty, the appearance of the national musical instrument Sanxian was noteworthy. In the theory of music, the records of Yan music scales appeared in the Song Dynasty. At the same time, the early Gongchi spectrum also appeared in Zhang Yan's Etymology and Shen Kuo's Mengxi Bitan. A kind of I-scale spectrum prevailing in modern times directly originated from this time. The Song Dynasty was also an era when Chinese traditional operas tended to mature. Its symbol is the appearance of Southern Opera in the Southern Song Dynasty. Southern Opera, also known as Wenzhou Zaju and Yongjia Zaju, has rich and natural music. At first, some folk tunes can be sung without the restriction of Gongdiao. Later, when it developed into Qupai-style opera music, a number of phrases with different Qupai were organized to form a new Qupai "collection" form. There are many forms of singing in Nanxi, such as solo, duet and chorus. Three scripts handed down from ancient times, Zhang Xie's Champion, can be found in Yongle Daqu. The art of traditional Chinese opera reached its peak in the Yuan Dynasty, represented by Yuan Zaju. Yuan Zaju flourished in the north at first, and gradually developed to the south, blending with southern operas. Representative writers of Yuan Zaju include Guan Hanqing, Ma Zhiyuan, Zheng Guangzu and Bai Pu, as well as Wang Shifu and Qiao Jifu, who are known as the six masters in the world. Typical works such as Guan Hanqing's Dou E Yuan, Single Knife Meeting and Wang Shifu's The West Chamber. Yuan Zaju has a strict structure, that is, each work consists of four folds (curtain) and a wedge (prologue or cut). A ten percent discount is limited to the use of the same palace tune, and one rhyme is always sung by one character (late or Dan). These rules sometimes break through, for example, Wang Shifu's "The Romance of the West Chamber" has a twenty percent discount on five books. The influence of Yuan Zaju on the Southern Opera made the Southern Opera (called Legend in Yuan and Ming Dynasties) further mature. A series of typical plays appeared, such as Yue Bai Court, Pipa Story and so on. These plays have been handed down from generation to generation and are still being staged today. At that time, the style of North-South Qu had been initially established, and the North Qu, which was dominated by seven tones, was heavy. Nanqu, which is dominated by pentatonic scale, is soft and graceful. With the development of opera art in Yuan Dynasty, the earliest monograph summarizing the theory of opera singing appeared, namely "On Singing" written by Yan Nan Zhi 'an, while "The Rhyme of the Central Plains" written by Zhou Deqing was the earliest rhyme book of northern music. He divided the northern language into 19 rhymes and divided the tone into four types: level tone, rising tone, rising tone and falling tone. This has a great influence on the study of phonology and the development of traditional Chinese opera rap music.

During the Ming and Qing Dynasties

Because the society of Ming and Qing Dynasties had the seeds of capitalist economic factors, the civil class was growing day by day, and the development of music culture was more secular. The folk ditty of Ming Dynasty was rich in content, although the good and the bad were mixed, its influence was wide, reaching the level of "don't ask men and women" and "everyone Xi Zhi". As a result, private collection and editing, publishing and engraving of ditties have become a common practice, and private publications have come out from folk ditties to songbooks, operas and piano music. Such as Folk Songs edited by Feng Menglong and the earliest piano music Magic Secret Music edited by Zhu Quan. Rap music was colorful in Ming and Qing Dynasties. Among them, tanci in the south, drum ci in the north, and rap songs of brand music, piano books and Taoism are more important. Suzhou Tanci has the greatest influence on the beautiful Tanci in the south. In the Qing Dynasty, there appeared a desolate and vigorous old tune represented by Chen Yugan in Suzhou. The straightforward and hearty horse tune represented by Ma Rufei; Yu Xiushan is the representative of the beautiful and gentle Yu tune. Later, many new schools were born. Shandong drum, wood drum, Xihe drum and Jingyun drum in central Hebei are more important drum words in the north. The rap of Paizi music includes Dan Xian, Henan major music, etc. Qinshu rap includes Shandong Qinshu, Sichuan dulcimer, etc. Daoqing rap includes Zhejiang Daoqing, Shaanxi Daoqing, Hubei Yugu, etc. There are also some rap songs of ethnic minorities, such as Mongolian storytelling and Bai nationality's big Ben. During the Ming and Qing Dynasties, song and dance music developed greatly among people of all ethnic groups, such as Yangko of Han nationality, Muqam of Uygur nationality, Nangma of Tibetan nationality, bronze drum dance of Zhuang nationality, peacock dance of Dai nationality, Yuetiao of Yi nationality, Lusheng dance of Miao nationality and so on. Characterized by the spread of vocal cavity, the drama music in Ming and Qing dynasties has reached a new peak of development. In the early Ming Dynasty, there were four major vocal cavities: Haiyan, Yuyao, Yiyang and Kunshan. The Kunshan cavity was reformed by Wei Liangfu and others in Taicang, Jiangsu Province, and won people's love for its exquisite and smooth tune and exquisite pronunciation of prefix, abdomen and suffix. After the confluence of North and South songs, Kunshan Opera has formed the Kunqu Opera, which was once the top opera. The earliest Kunqu Opera repertoire is Huansha Ji by Liang Chenyu in Ming Dynasty, and the other important repertoires are Peony Pavilion by Tang Xianzu in Ming Dynasty and Immortal Palace by Hong Sheng in Qing Dynasty. Yiyang Opera, with its flexible and changeable characteristics, has an important influence on local dialect operas, making the number of local operas increase day by day, such as various high-pitched operas. At the end of Ming Dynasty and the beginning of Qing Dynasty, the northern Bangzi Opera, represented by Shaanxi Western Qin Opera, developed rapidly, which influenced Puzhou Bangzi in Shanxi, Tongzhou Bangzi in Shaanxi, Hebei Bangzi and Henan Bangzi. This kind of sonorous and generous bangzi cavity is enduring in northern provinces. In the late Qing Dynasty, Pi Huangqiang, composed of two basic tunes, Xipi and Erhuang, was initially formed in Beijing, from which Peking Opera, which influenced the whole country, was produced. During the Ming and Qing Dynasties, the development of instrumental music was manifested in the emergence of various forms of instrumental ensemble among the people. Such as Zhihua Temple wind music in Beijing, Hebei blowing songs, Jiangnan silk and bamboo, Shifan gongs and drums and so on. Qin songs such as Wild Goose in Pingsha in the Ming Dynasty, Running Water in the Qing Dynasty, and a number of rich Qin songs such as Three Layers in Yangguan and Eighteen Beats of Huqie were widely circulated. Since the end of Yuan Dynasty and the beginning of Ming Dynasty, famous songs such as "Hai Qing Na Swan" and "House of Flying Daggers" appeared, and the earliest Pipa Music edited by Hua Qiuping appeared in Qing Dynasty. At the end of the Ming Dynasty, Zhu Zaiyu, a famous musicologist, calculated the ratio of the length between two adjacent laws (semitones) of the twelve average laws, accurate to 25 digits, which was the first academic achievement in the world.

Modern period

This period began with the Opium War in the late Qing Dynasty, and experienced a series of anti-imperialist and anti-feudal peasant revolutions, the Reform Movement of 1898, the Revolution of 1911, the May 4th Movement, and the new-democratic revolution under the leadership of China's * * * production party. Over the past hundred years, the development of music culture has been intertwined with traditional music and western music introduced from Europe, but the development of music culture has been based on democracy. Traditional music first takes the development of revolutionary folk songs as a craze, such as Hong Xiuquan Uprising, which reflects the revolution of the Taiping Heavenly Kingdom, Forced Relocation Song, which protests against the invasion of tsarist Russia, and urban tunes such as Persistence and Suffering People, which denounced warlords for betraying their motherland and suppressing the people during the May 4th Movement. In red base areas, border areas and liberated areas, revolutionary songs have more excellent traditions, such as "Harmony in Heaven" and "Embroidery". The formation of Peking Opera in traditional Chinese opera music has influenced the whole country, and Cheng Changgeng, Tan Xinpei and later Mei Lanfang, Cheng Yanqiu and Zhou Xinfang have appeared. Various local operas, Pingju Opera, Yue Opera, Chu Opera, etc. have also developed rapidly, while national instrumental music is characterized by the emergence of various folk instrumental music clubs, such as "Tianyun Society" and "Datong Music Association". This reflects that the development of national instrumental music has a deep foundation of folk activities. The characteristics of this folk music activity have produced many outstanding folk artists, among which Hua Yanjun (A Bing, a blind man) is an outstanding representative. In addition, the compilation and publication of various piano scores and pipa scores have also increased. Although the introduction of western music into China can be traced back to the Yuan and Ming Dynasties, as a cultural form, it should be the school folk song movement in the late Qing Dynasty and the early Republic of China that influenced China. At that time, some reformist intellectuals, such as Liang Qichao, Shen Xingong and Li Shuping, who demanded to emulate Europe and America and Qiang Bing, a rich country, advocated this movement. School music songs, as music teaching materials for students, focus on promoting patriotism and anti-imperialism, supporting * * * and learning European and American scientific civilization, such as "China Men" and "Gymnastics-Military Exercises". These music songs are not only popular in schools, but also widely affect all walks of life in social clubs. Most of these songs borrow foreign tunes to write lyrics, some write lyrics according to their own tunes, and some create tunes. Under the influence of the May 4th New Culture Movement, China began to spread western music and improve Chinese music, and established some music societies, such as Peking University Music Research Society, Chinese Aesthetic Education Society and Chinese Music Improvement Society. Professional music education was originally established on the basis of these music societies. In the 192s, Xiao Youmei founded the National Conservatory of Music in Shanghai, which was the beginning of formal professional music education. Xiao Youmei was disgusted with blood and devoted his life to the early professional music education in China. During the May 4th Movement, Zhao Yuanren, a famous linguist and composer, was one of the representatives of early professional music creation in China. He paid attention to the combination of national language tone and song tone, and was good at absorbing the nutrition of traditional music, and wrote such works as Selling Cloth Ballads and Teaching me how not to think about him. On the other hand, Liu Tianhua, a national musician, explored ways to improve Chinese music by learning western music, founded the "Chinese Music Improvement Society", wrote erhu solos such as Bright Walk, Birds in the Empty Mountain, and Singing in Illness, and incorporated the erhu into the professional music education curriculum. Li Jinhui has created a large number of children's musical dramas, such as The Little Painter, Sparrows and Children, and the musical performance "Poor Chou-heung", which are also the early explorations of Chinese new opera creation. As the first generation musicologist in China, Wang Guangqi has made pioneering contributions to the history of music and comparative musicology in China. Huang Zi, a famous music educator and composer in 193s, did a lot of work to consolidate and improve professional music education. He trained a group of professional musicians such as Liu Xuean, Jiang Dingxian and He Lvting, and his artistic songs such as Three Wishes for Roses and Nanxiangzi still reverberate on today's concert stage. He also wrote the first oratorio "Song of Everlasting Sorrow" in China. During this period, the development of professional music took songs as the main genre, and instrumental music was relatively weak. However, there are also some good works in the nationalization of instrumental music, such as He Lvting's piano piece The Shepherd's Piccolo, Qu Wei's piano piece The Flower Drum, Ma Sicong's violin piece The Inner Mongolia Suite, Kyle's orchestral piece The Northern Shaanxi Suite, national instrumental music such as A Moonlit Night on a Spring River, and Hua Yanjun's Two Springs Reflecting the Moon.

Drama historians say that there were three ancient drama cultures in the world. One is ancient Greek drama, the other is Indian Brahma drama, and the third is China's drama. The ancient Greek drama came into being in the 6th century BC, and after more than 2 years, it declined, but the drama culture in later Europe was derived from it. The formation time of Indian Brahma drama is unknown, and it has long been a cultural relic, but there are no people in Southeast Asia who are unaffected by it. China opera is the youngest, and it didn't officially enter the room until the 11th century. However, because of its long-term savings and many sources, it has a particularly strong vitality. Over the past 8 years, not only has it not declined, but it has been deeply rooted and multiplied, forming 317 local operas, large and small. This has turned China into a powerful drama country, and even more, China has accumulated an unusually rich repertoire and operas that no country can compare with. Drama theory, performance director and vocal music heritage.

The so-called genre refers to a genre that uses a specific local language and vocal system, has a representative repertoire, has a certain circulation space and a certain audience. There are many conditions for judging a genre, but vocal characteristics are the fundamental factor to distinguish a genre. Because in China traditional opera, if there is no music represented by aria, the opera will cease to exist and become another form of drama. In this sense, music is the life of the opera.

All local operas have their own vocals and music, and some operas related in musical style form a certain vocal system. In the Ming Dynasty, Yu Yaoqiang, Haiyan, Ge Yang and Kun were successively produced.