（来源：光明日报） 据《杨太真外传》记载，唐玄宗驻跸连昌宫，登上三乡驿，眺望女几山，遥想仙乐幻境，不由灵感 勃发，归来后便创作了一首乐曲，刘禹锡诗云："开元天子万事足，惟惜当时光景促。三乡驿上望仙 山，归作《霓裳羽衣曲》。"恰在此时，西凉都督杨敬述进献天竺佛曲《婆罗门曲》，于是唐玄宗巧妙 地将《婆罗门曲》的异域旋律融入这首新创的乐曲，增加了散序部分，并给这首曲子起了个诗意盎然的 名字——霓裳羽衣，正所谓"西凉创作，明皇润色，又为易美名"（南宋王灼《碧鸡漫志》），从而孕育 出兼具中原气韵与西域情调的歌舞奇葩，体现出盛唐文化开放包容、海纳百川的气度与胸襟。 李隆基登基后，展现出超常的音乐禀赋，"玄宗又制新曲四十余，又新制乐谱"（《旧唐书·音乐 志》），除著名的《霓裳羽衣曲》外，还有《得宝子》《紫云回》《凌波曲》《龙池乐》《春光好》 等。元稹、白居易等皆言其"雅好度曲"。唐玄宗作曲多为即兴创作，"上洞晓音律，由之天纵，凡是丝 管，必造其妙。若制作诸曲，随意即成，不立章度，取适短长，应指散声，皆中点拍"（《羯鼓 录》）。据元稹《连昌宫词》所记，元夕前夜，唐玄宗驻跸东都洛阳上阳宫，亲自演奏了他新创的一首 乐曲。元夜时， ...

Core Points - The article discusses the historical development of music and dance in ancient China, tracing its origins back over 8000 years to the earliest known musical instruments and cultural practices [1][3][4] - It highlights the evolution of musical instruments and the establishment of a structured musical system during the Xia, Shang, and Zhou dynasties, emphasizing the significance of music in rituals and governance [4][9][10] - The article also explores the integration of various cultural influences, particularly during the Tang dynasty, leading to a flourishing of music and dance that reflected the era's prosperity and cultural exchange [23][25][30] Group 1: Historical Context - The earliest known musical instrument, the Jiahu bone flute, dates back over 8000 years, marking the beginning of Chinese musical history [3] - The Yao era, around 4000 years ago, saw the emergence of complete musical instruments, indicating the early development of ritual music [4] - The concept of "Eight Sounds" was established during the Yao and Shun periods, categorizing musical instruments into eight types based on material [4][6] Group 2: Cultural Significance - Music and dance were integral to ancient rituals, serving to honor deities and celebrate significant events, as seen in the records of the Xia and Shang dynasties [6][7][8] - The Zhou dynasty formalized music and dance as tools for governance, using them to maintain social order and reinforce hierarchy [9][10] - The article notes that music and dance were not only for entertainment but also played a crucial role in societal cohesion and cultural identity [8][9] Group 3: Evolution and Influence - The Tang dynasty marked a peak in the development of music and dance, with the establishment of formal institutions to manage and promote these arts [25][30] - The integration of Western musical influences during the Tang dynasty led to the creation of new forms of music and dance, reflecting a blend of cultures [23][25] - The decline of these art forms post-Tang dynasty was attributed to social upheaval and the fragmentation of cultural institutions [30][31]

（原标题：华清宴会：梨园声声与马蹄阵阵） 文博时空 作者 王子玥 天宝十四载（公元755年）六月一日，这一天骊山下的华清宫从早上起就人影攒 动，宫人侍卫们鱼龙贯出，手持着各色宫灯绢花，霓纱彩旗，小心翼翼地布置在每处宫楼角宇。华清宫 外的护城河波光粼粼，宫内的鲜花争奇斗艳，阵阵暖风拂过园中引得绿枝摇曳，美酒佳肴齐聚，乐工舞 妓静候。而这场热闹堂皇的宴会主人正在梳妆打扮，36岁的杨贵妃风华不减，依旧宠冠六宫，唐玄宗专 门为其行幸华清宫庆生。 清 佚名 《百美图手卷 杨太真》（局部） 轻歌曼舞醉太平 "骊宫高处入青云，仙乐风飘处处闻。"（唐 白居易《长恨歌》）这场诞辰宴会在华清宫的长生殿举 行，初始，只见三十名乐工分别持磬、箫、筝、笛等乐器，为宾客弹奏乐曲。令人惊讶的是他们演奏的 曲子并非众人熟悉的《霓裳羽衣》、《紫云曲》、《春光好》等，这是一首全新的舞曲，因为是第一次 在宴会上表演，众人聚精会神，沉醉在这轻灵雅致的管弦声，婀娜多姿的舞蹈中久久不能平复。 五代十国 周文矩 (传) 《合乐图》 芝加哥艺术学院藏 不怪众人夸张，这支乐队虽然是一支年轻的组合，乐工们的年龄均在十五岁以下，却是乐伎中的翘楚， 更有"皇家子弟 ...