The Research On Musical Institution In Tang Dynasty

In Tang Dynasty, the society goes very smoothly and stably, with prosperous economy and flourishing culture, and the royal music reaches the summit of the feudal culture. With varied merits from different branches of music, the royal music created an unprecedentedly grand occasion in the history of music and made great contributions to the development of Chinese ancient musical culture.The brilliance of music in Tang Dynasty is indebted a lot to the well-equipped organization of the royal music. Different musical forms develops together with the perfection of the musical organization. Thus a study of the organizaition of the royal music in Tang Dynasty can not only provide a key approach to the research on music at that times, but indicate some hints for the investigation of Chinese ancient musical education and musical documents.The organization of the royal music in Tang Dynasty is composed of three branches: Taichang Si, Jiao Fang and Li Yuan. This thesis attempts to investigate the historical background of the three branches, such as their origin, their corresponding musical duties, their major musical forms, musical officials and players, etc. Thus the conclusion that all the three branches working together leads to the great achievements of the royal music in Tang Dynasty will be reached.The thesis consists of four parts.Part one reveals the historical orgin and duties of Taichang, then the function of Taichang Si in Tang Dynasty. From Qin Dynasty to Tang Dynasty, Taichang Si has always served as the centre of the feudal ideological system, with the partly duty of managing all affairs of the Palace concerning music. Taichang Si in Tang Dynasty is made up of 8 Shu and 4 Yuan, among them are TaiYue Shu and Guchui Shu, both of which are in charge of music. In the early Tang Dynasty, both elegant music and popular music are subordinate to Taichang Si. The increasing musical types and the intense competition between elegant music and popular music finally make it inevitable that Xuan Zong attributes some duties of Taichang Si to Jiao Fang.Part two firstly introduces the origin of "Fang" as well as the three stages of Jiao Fang in the early Tang Dynasty. In the period of Gaozu, Jiao Fang is called "Nei Jiao Fang", which is subordinate to Taichang Si and has the duty of teaching elegant music; it is named as "Yunshao Fu" in the period of Wuhou, which is expected to teach people of the Palace write, calculate and perform; it is again called "Nei Jiao Fang" at the times of Zhongzong. Then a survey of the five Jiao Fangs in the middle Tang Dynasty is given: Nei Jiao Fang, Zuo Jiao Fang, Zhangnei Jiao Fang, and Luoyang's Zuoyou Jiao Fang, along with the exploration of their location and function. Finally, the musical types of Jiao Fang are introduced detailedly to show the dudy of Jiao Fang. Meanwhile, the relationship between Jiao Fang and Qing Lou is revealed from the perspective of music and musical players.Part three gives an overall introduction of Li Yuan, for instance, its location, intruments, players, etc. Li Yuan of the Palace in Sui Dynasty and the early Tang Dynasty serves as the place of entertainment for those royal members. Later, Xuanzong sets up an organization named "Li Yuan" in the Palace for the learning of Faqu, located beside the Penglai Palace. There are Jinyuan Li Yuan, Gongnei Li Yuan, Huaqinggong Li Yuan, Li Yuan Biejiaoyuan and Li Yuan Xinyuan in Tang Dynasty. They are similar in function, but differrent in location. Li Yuan gets it fastest development at the times of Xuanzong, and declines after the Rebel of Anshi.Part four draws a conclusion. Through the study of the three musical branches in Tang Dynasty, it can be concluded that their different duties and values contribute to the development and the brilliance of music in Tang Dynasty.