A Study On The Cultural Exchange Between Ancient Tang Dynasty And Tibetan Music In Ancient China

There was a flourishing music cultural exchange between the Tang and Tubo Dynasties in AD 8 and 9 centuries. This exchange roughly started from 641 AD, the time Princess Wencheng went into Tibet, due to the ruin of the Tubo Dynasty. It is a long time filled with the interflow, inclusion and development of Zang and Han’s national music.This thesis starts by collecting related literatures. Then, the exchange of music cultures between Zang and Han, such as Musical instruments, dance, composition, and tone, in the Tubo Dynasty is analyzed. Throughout the history of the interaction between the Tang and Tubo Dynasties, music exchange can be found in both wars and peace processes, such as inter-marriage, peace negotiations, and alliances. Tang and Tubo music not only has its own specific character, but also presents some common manners. This property guarantees the interaction between Zang and Han, and help to bring the fusion of their music cultures.There are many examples that can demonstrate the music fusion. By comparing Xieqin with Daqu, it can be found that bringing Daqu to Tubo affected the native Tubo music such as Xieqin. The similarity in the murals also illustrates Baixi, which had been popular in Tang, was also introduced to Tubo. Moreover, folk dance of Tubo can be widely found in its conquests such as Helong. We also find that bird music and dance, a special art in Han, was introduced to Tubo. Tubo’s rebound Sanxian affected the instrument performance of Tang, yielding a well-known work, the rebound Pipa. Since Buddha was usually worshipped with a recitative style in the Tang Dynasty, Tang’s introduction of Buddhism also promoted national recitative music. The fusion of Zang and Han’s music was centered at Dunhuang, and developed with the mutual influence between two nations. It was positively promoted by the higher orders and widely spread by the lower.