【摘要】：中古時(shí)代一些少數(shù)民族的音樂習(xí)俗,無(wú)論是樂器還是相關(guān)的器樂形式,目前在我國(guó)境內(nèi)仍然是"活性態(tài)"的客觀存在。高麗人吹奏的蘆管由原始胡笳演變而來(lái),其音樂風(fēng)格在唐代受到廣泛歡迎,引發(fā)了唐人書寫蘆管的藝術(shù)高潮;林邑人、赤土人之"吹蠡",是天竺佛教音樂文化的遺存,法螺至今仍是藏傳佛教的"八瑞相"之一,李白、白居易和韓愈等杰出詩(shī)人的"吹蠡"書寫,為唐詩(shī)增添了神圣、莊嚴(yán)的意味。音樂作為聯(lián)結(jié)不同民族的重要紐帶,對(duì)于中古歷史發(fā)展的影響是不可忽略的。
[Abstract]:The musical customs of some minority nationalities in the middle ages, whether they are musical instruments or related instrumental music forms, are still the objective existence of "active" in our country. The reed pipes of Korea people have evolved from the primitive shit, and their musical style is widely welcomed in the Tang Dynasty, causing the artistic climax of the Tang people to write the reed pipes; Lin Yi people, Chek. The "blowing Li" of the native people is the remains of the Buddhist music culture of Tianzhu. The French snails are still one of the "eight Rui" of Tibetan Buddhism. The writing of "blowing Li" by the outstanding poets such as Li Bai, Bai Juyi and Han Yu added the sacred and solemn meaning to the Tang poetry. As an important link of the different nationalities, the influence of the music on the development of the middle ancient history can not be ignored. Yes.
【作者單位】： 中國(guó)社會(huì)科學(xué)院文學(xué)研究所;
【基金】：內(nèi)蒙古社會(huì)科學(xué)院“草原文化研究工程”招標(biāo)項(xiàng)目“呼麥藝術(shù)史”成果(項(xiàng)目批準(zhǔn)號(hào):CYWH2015-02)暨中國(guó)社會(huì)科學(xué)院文學(xué)研究所學(xué)術(shù)創(chuàng)新工程成果
【分類號(hào)】：I207.22;J609.2

【參考文獻(xiàn)】

相關(guān)期刊論文 前1條

1 徐杰;;高句麗音樂研究及其價(jià)值[J];通化師范學(xué)院學(xué)報(bào);2008年05期

【共引文獻(xiàn)】

相關(guān)期刊論文 前1條

1 范子燁;;吹蘆與吹蠡:中古時(shí)代的民族音樂習(xí)俗與唐詩(shī)的藝術(shù)呈現(xiàn)[J];晉陽(yáng)學(xué)刊;2017年04期

，

本文編號(hào)：2147719