Abstract
As one of the most important events in history, An Lushan and Shih Sze-ming Rebellion is seen not only as the turning point which started the whole process of decline in the political and economic courses of Tang Dynasty from its golden age, but also seen as the key point in the transition of feasts and folk music in the palace of Tang Dynasty. While most scholars tend to emphasize relevant topics such as multi-part music dance, institutions and instrumental music in the golden age of Tang Dynasty, music development after that was rarely talk about. The decadence in the political and economic development of Tang Dynasty caused by An Lushan and Shih Sze-ming Rebellion had so generally spread that it resulted in the centralized development of “New Folk Music” in music style after the integration of Hu music and Folk music of Tang Dynasty. A monographic study on the development of feasts and folk music in the palace of Tang Dynasty after An Lushan and Shih Sze-ming Rebellion is emphasized in the essay. In the light of the reological and transformation of feasts and folk music both in the palace and among the people in Tang Dynasty after An Lushan and Shih Sze-ming Rebellion, the music texts which had been literally lost in this stage are systemized and discussed. Firstly, the feasts and folk music in the palace of Tang Dynasty before An Lushan and Shih Sze-ming Rebellion and the background and evolution of “New Folk Music” encompassed in that are fully discussed; then the transformation of feasts and folk music both in the palace and among the people in Tang Dynasty after An Lushan and Shih Sze-ming Rebellion is studied in detail. The occurrence of An Lushan and Shih Sze-ming Rebellion and the thereafter political disorder and financial strait had become so serious and involved that the performance of these feasts and folk music former golden Tang Dynasty was becoming unbearable and unaffordable. Therefore, palace music institutions like “Pears Orchards” and “Imperial Music Institution” were either dissolved or cut down; most of those musicians and female musician led a wandering life in poverty depending on exhibiting music and dancing skills among the people as a result of refuge or dismissal. Meanwhile, those fine and excellent performance skills were brought to the folk, which had further resulted in the development of folk music. “Female Musician House” and “Theatre” emerged with the springing up of those regional economic cities after An Lushan and Shih Sze-ming Rebellion, turning into the new strongholds of music development in the middle and later stages of Tang Dynasty. After conducting a comprehensive survey on feasts and folk music in the palace of Tang Dynasty after An Lushan and Shih Sze-ming Rebellion, generally and integrally speaking, the discussion does not stop at the point of the decline after An Lushan and Shih Sze-ming Rebellion; what’s more important is to fully discuss the evolution and transformation of feasts and folk music and expound the centralized development of music style in this stage by means of the new concept “ New Folk Music ”, which had thoroughly remolded the appearance of music style in ancient China and the research and discussion of which might finally position the historical role of music development after An Lushan and Shih Sze-ming Rebellion.
