Research On The Music And Dance Culture Of Chang'an And The Western Regions In The Tang Dynast

Tang Dynasty Music and Dance represents the highest level of the art of medieval music and plays an important role dance in the history of China’s ancient music and dance.Chang’an is a metropolis as well as the cultural center of international music and dance.Spread along the Silk Road,Western music and dance plays an important role in the the Sui and Tang court music and dance.The Western-centric ten dance music established by Emperor Taizong of Tang,the two kabuki establish by Emperor Gaozong of Tang and the developed music and dance mechanisms during Emperor Xuanzong such as the Musical House,Pear Garden as well as banquet and drink activities which enjoys a good reputation inside and outside the court,not only reflects the strong comprehensive national strength of the Tang Dynasty,but also shows that the culture of the Tang Dynasty Music and Dance was permeated the subtle influence of western culture.Music and Dance theatres from western regions were on stage in the Tai Chi palace,Daming palace and Xingqing palace in Chang’an city.The content of the Okuma Tang Dynasty and French song not only reflected the noble cultural life of Tang court,but also was the carrier of the frontier soldier’s inner feelings.Obviously,Western dance across time and space in the city of Chang’an blends traditional Chinese music and dance and promotes the development of Tang Music and Dance.Western popular music and dance of Chang’an went through a long process of eastward propagation.As early as the Western Han period to sixteen countries,from Western advocacy music,magic,acrobatic horse had already started to spread eastward dance,Tianzhu music,music was introduced to Kucha Hexi area,and combined with local traditional dance form the Qin and Han Kabuki.The Kucha is famous for singing and dancing among western countries,due to frequent economic and cultural factors of Silk Road which gave birth to the emergence and development of the Qin and Han Kabuki Hexi area,and the rule of the Liang Juqumengxun promoted the overall development time Liangzhou music and dance culture.The Northern Wei Dynasty court music and dance centered on Bei Di,Xianbei ethnic music and dance center,and absorbed Juqu Mengxun reign Hexi area of cultural preservation of Chinese-style dance,Western dance culture,created the Luoyang old music,and absorb the Eastern Jin Dynasty ritual civilization,which work together to build a foundation for the development of the Northern Wei Dynasty Court Yayue dance.Beidi music also exchanges with some music and dance culture in Southern Dynasty and formed a new kind of music and dance.music and dance culture of the Northern Qi Dynasty,the main point is the Hu character of music and dance culture of the Northern Qi,which was inseparable from the ethos that Northern Qi Dynasty rulers like Western music and dance culture and there were the favored people who enjoyed the open government system barbarian musicians,such as Cao Miaoda,Wang Changtong,An Weiruo and so on,many of which have been the backbone of the music and dance development until Sui and Tang dynasties.Northern Zhou Dynasty period,Kang Yue Zhou court passed,Western Kucha Soviet musicians that only white woman with his lute seven Zhitong tune into the Chang’an City,he and Zheng translation,where appropriate,who together contributed to the development of Kai Huang Yue Yee.After Sui unified North and South,the Southern Yue Shi Ya Sui artificially reconstructed ritual played a major role in the establishment of the seven Lok Emperor Wen,Emperor during the development of nine music.Emperor Bai Xi advocate for the implementation of a series of Hu ’s favorite dance music cultural policies to promote the progress of court music and dance education system,making Sui Tang dance music and dance culture as a prelude mature development.Chang’an is the cultural center of music and dance,nine Tang Yue developed into ten Tang Yue as well as two tricks formed.Banquet occasions after their ritual in which they have developed on the premise of nature led to the development of sophisticated pleasures of the inner court of the Tang Dynasty.Ten music and two tricks have many forms and contents centering on harp,lute,drum musical instruments.This paper focuses on a case study of Tang Dynasty Music and Dance,including Huxuan,Huteng dance,and Zhe Zhi dance Qi,Zhou era developed Omo,dial head,throwing cold Hu begging the drama of such masks case studies of music and dance,etc.,in order to show the development and process of how Tang Dynasty Music and Dance absorb the fusion of Western music and dance and characters of the Tang Dynasty Music and Dance culture exchanges as well as many political and economic factors.Music and dance events in Chang’an City discuss the Taiji Gong Yan Ming door to the left and right Heart of Tai Temple,astrotech Hall,Ye Ting Palace,Prince Orient House dance space and layout.During the period of the Emperor of Xuanzong,the Imperial palace,Datang Furong Garden feast activities,etc.mainly discussed in the palace during the reign Jiaofang,teacher workshops,the East Court battle within Jiaofang,pear,children Square,the East Court,Han Guang Dian pear stadium as the center of the court music entertainment and South diligent floor inside the Imperial palace,calyx floor,sixteen wangzhai pleasures activity center,discusses the Emperor period began,Western music and dance at the palace noble life begins Speaking subconscious activities.Folk music and dance mainly discusses the dance activities in the west and east of the city of Chang’an to the Gate of Chunming.Under that circumstance,the life of dancers in Ping Kang as well as their business,and the speaking activities by dancers in Tang Temple Nepal,which not only includes the exchanges between temple and Jiaofang,also reflects the Tang Dynasty temple economy.