Later, the emperors of the Northern Qi Dynasty were so “fond of Qiuci music”that it was almost “like an addiction” During the Northern Zhou Dynasty, Wudi Emperor, Yuwen Yong, sought for a marriage with the Turki khan family in 568 AD. As part of the dowry, the Turk princess, Ashina brought with her a huge Western Regions musicand-dance troupe composed of 300 people from Qiuci, Sulek, Bukhara and Samarkand, thus introducing the fine art of music and dance of the Western Regions to the Central Plains once again. Many artists brought by the Turki princess later became significant figures in the Chinese music history, of whom the one with the biggest contribution was Sujup, a musical theorist from Qiuci. Sujup taught Han musicians the Qiuci musical theory of “Five Modes and Seven Notes”. The establishment and application of this theory improved the temperament system of the entire Chinese nation as it set up the standards for music and deeply impacted the music in the Sui and Tang Dynastieså¹½.During the Sui and Tang period, every household on the Central Plains “learnt northwestern music” and the court music was also dominated by minority repertoire. Wendi Emperor of Sui defined “seven music categories”ï¼three of which were from the Western
Regions. Yangdi Emperor of Sui expanded the categories to nine, with five from the Western Regions. In the Tang Dynasty, Taizong Emperor defined “ten music categories”ï¼which included music from Qiuci, Sulek^ Bukhara, Samarkandï¼Korea, Western Liang, Gaochang, banquet music, ancient Chinese music and Indian music. Among the ten categories, Western Regions produced six, or seven, if Western Liang music was also counted, which was a“variation of Qiuci music,,J23. Qiuci music was held in high esteem and called “top of the minority categories” If we take into account other music spreading to the east from the Western Regions, such as that of Yutian, Yanqi, Turks, Yueban, Qirqiz, Maimargh, Kesh and Yizhou, then the music of the Western Regions definitely had an overwhelming dominance.
Another piece worth mentioning in China kultur - Kultur von China Xinjiang music-anddance is the Twelve Muqa'm, a classical work of folk music, dance and poetry that gradually and slowly came into being on the basis of Qiuci, Sulek^ Yutian and other ancient Xinjiang music, with complementary musical instruments and melodies from Islamic countries such as Arabia and Persia. The Twelve Muqam consists of twelve suites, each having three repertoires—Chong Naghma, Dastan and Mashrap, with lyrics made of famous poems, ballads or folk tale verses. In its long history, Muqam underwent two major consolidations.