Exchanges between ethnic groups in China, as well as exchanges between the whole Chinese nation and neighboring countries, ethnic groups and regions, have never stopped since ancient times. Due to trade, diplomacy and even war, musicians, music and musical instruments from frontier and foreign countries often flow into the Central Plains. In the Tang dynasty, this kind of blending reached its peak, showing a prosperous scene of all kinds of music competing for beauty. In the 16th year of Zhenguan in Tang Dynasty (AD 642), the popular music used in the court was divided into ten parts, namely, Le Yan, Shang Qing, Xiliang, Qiuci, Shule, Guo Kang, Anguo, Tianzhu, Koryo and Gaole. Most of them are authentic frontier music or exotic music, only Yan music and music are consolidated by the Central Plains, and Yan music presents a trend of mixed styles and different styles. The mutual influence and infiltration of the music of various nationalities in the Tang Dynasty in terms of style, implication and melody, as well as the influence on the evolution of China's music culture, have never been verified, which is an unresolved issue for music historians. However, through the investigation of the use of some musical instruments at that time, we can see that some musical instruments were originally produced in outland, but later entered the wonders of the Central Plains.

Pipa plays a very important role in China's national musical instruments. However, its origin comes from India. Legend has it that it was introduced to Chinese mainland around 350 AD. By the Tang Dynasty, it had been widely used in the Central Plains, not only in the court, but also in the folk, with many excellent performers and a large number of solo tracks. There is a story related to this in the book Pipa, from which we can see one of the prosperous scenes of Pipa art in Tang Dynasty: during Zhenyuan period of Tang Dynasty, there was a drought in Chang 'an, and the emperor ordered the people to pray for rain. The residents of the East and West Districts gathered in Tianmen Street and set up colorful buildings. At the same time, they held a rain-praying ceremony and held an instrumental music competition. At that time, Kang Kunlun, who was known as the first pipa player in the East District, was recommended to perform on stage. After the song was sung, he was very proud, thinking that no one in the west side dared to go on stage to compete. Unexpectedly, a young woman appeared in the colorful building in the western district, holding a lute in her arms and saying to everyone, "I also play this piece, but I have to move it to Fengxiang." After that, the sound of the piano shocked people's hearts, and it was wonderful, and its skill was far above the former. After hearing this, Kang was surprised and ashamed, and immediately asked to be a teacher. When the woman came back with a change of clothes, she knew that this person was not a woman, but Duan Shanben, a monk from Zhuang Yan Temple. Then they really became apprentices. There is a story of playing cymbals in Yuefu Miscellanies, from which we can also see that frontier musical instruments are widely popular in the Central Plains. The story is: During the calendar year of the Tang Dynasty, there was a man in Youzhou who was good at playing the flute named Wang Manu (then called Zan) and was promoted to be the first master in Hebei. Because of his superb skills and arrogance, most people dare not invite him to play. An official surnamed Lu once said to Wang Mannu, "Your skill is not enough to be praised. There is a general named Wei Chiqing in Beijing, and his cymbal skills are unparalleled today. " Wang Manu said, "My skill is chinese odyssey. I will go to Beijing today to compare. " After Wang arrived in Beijing, he deliberately lived near Wei Chiqing's mansion and played all day to attract Wei Chiqing's attention. Every time Wei Chiqing passed by Wang Mannu's house, he didn't seem to hear the sound of cymbals, so Wang Mannu had to visit. In front of Wei Chiqing, Wang played a high-profile song "Lebu", and he was sweating after playing it. Wei Chiqing just nodded and said, "Why use the high tone?" So I took out my own silver tube and finished this song easily in a low-level process. Wang Manu was ashamed of his appearance and said with tears, "I am a frivolous person. Learn this art occasionally and feel invincible in the world. Today, I played like Yue Xian before I knew I was ignorant. " From then on, Wang Manu stopped playing.