Sister Shenxian's TV series is on the air, and "Meng Hualu" has been very popular recently. According to the relevant information in the play, it is inferred that the background dynasty of "Meng Hualu" is the Song Zhenzong period in the early Northern Song Dynasty. cultural charm. The famous historian Chen Yinke once said: "The culture of the Chinese nation has evolved over thousands of years, and it has been created in the era of Zhao and Song Dynasty."

So today, let's take a look at the "music culture" behind the Song Dynasty, one of the most prosperous eras of economic and cultural education in Chinese history.

Song Dynasty market music inherited the court music since the Tang Dynasty. Palace music entered the market culture and formed music represented by the citizen class. It not only inherited the advantages of court music in the Sui and Tang Dynasties, but also promoted the development of rap and opera in the Yuan and Ming Dynasties. . Therefore, compared with the previous generations, the market music of the Song Dynasty is more contemporary.

Most of the entertainment venues driven by the rise of the citizen class are fixed locations—Wazi.

Wazi, also known as "Goulan", "Washi" and "Washe", is a performance venue, with extremely rich performances such as folk art, rap, acrobatics and other performances, and a more popular hedonic consumption has emerged. In the Bianjing City of the Northern Song Dynasty, there are more than 50 Sangjia Wazi, Zhongwa, Riva and Daxiaogoulan.

There are also different types of dance music played by Wazi. In the late Northern Song Dynasty, the music in Wazi included small singing, purine singing, various palace tunes, Zaju, dance spin, shadow play, jokes, miscellaneous costumes, and called fruit. With the prosperity of the tile, specialized occupations gradually emerged, and a fixed form of performance was formed in the tile. In the "Jisheng of the Capital" "Washe Zhongji", it is recorded that there are fine music, small musical instruments, drum pads, Qingyue and other instrumental music performances. Compared with court music, Wazi music has a wider audience and mostly caters to the needs of most people.

When it comes to the Song Dynasty, the "guqin culture" is naturally indispensable.

As one of the traditional Chinese musical instruments and the first of the four arts of literati, the guqin has its different development in each historical dynasty. The Song Dynasty was the peak period in the history of guqin art development, because from emperors to literati and doctors, and even hermits from outside the world were very fond of the qin. Song people are all proud of being able to play the qin, listening to the qin, tasting the qin, and appraising the qin.

During the Song and Song Dynasties, there were many famous Guqin genres, and many famous Guqin songs came into being at this time. The art of guqin in the Song Dynasty has made great breakthroughs in terms of the complexity of the technique and the depth of the composition of the qin music. Among them, the most prominent is the importance attached by the ruling class of the Northern Song Dynasty to the music of the guqin, which made the guqin once again become the first national music after the impact of foreign music in the Tang Dynasty.

Such as: Song Taizong loves the qin, hoping to use the guqin to teach people's hearts, and he is also committed to the innovation of the guqin. Song Huizong was fond of qin, and he once set up the "Official Qin Bureau" to pick up the qin, collect famous qin from all over the world, and specially set up the "Wanqin Hall" to store these famous qin. In addition, the qin waiting edict in the Song Dynasty was set up in the Hanlin Academy as in the Tang Dynasty. Because the emperors of the Song Dynasty and the sergeants and officials of the dynasty all loved and respected the guqin, basically every generation had a qin waiting edict at that time. These qin waiting edicts system contributed a lot to the development of qin music in the Song Dynasty.

The songs of the Song Dynasty were more abundant than those of the previous generation, and more relevant materials were preserved.

There are four types of qin music in the Song Dynasty: one is the works with traditional themes, such as "Chu Song", "Hujia Eighteen Beats"; One is a tune with contemporary characteristics, such as: "The Drunkard's Song" and "Zepan Song"; the last one is the two earliest extant qin songs: "Ancient Resentment" and "Open Finger Yellow Yingying".