本文選題：拜占庭圣詠　切入點：記譜法　出處：《上海音樂學(xué)院》2003年碩士論文

【摘要】：拜占庭圣詠是西方音樂史中不可或缺的一個重要部分，被視為古代遺產(chǎn)向西方宗教音樂發(fā)展的中間環(huán)節(jié)。時至今日，西方學(xué)界在拜占庭圣詠的研究上取得了豐碩的成果，但與西方教會圣詠研究相比還顯然有不小的差距。就國內(nèi)而言，這方面的研究尚未引起足夠的重視。 學(xué)界對拜占庭圣詠的概念和界定尚存爭議，本文對拜占庭圣詠的研究主要集中在中世紀拜占庭帝國時期，，說希臘語的東羅馬帝國教會(特別是君士坦丁堡教會)中所使用的宗教儀式音樂，同時，對拜占庭帝國滅亡(1453年)后的拜占庭圣詠，以及拜占庭周圍受其影響地區(qū)的圣詠傳統(tǒng)加以適當(dāng)關(guān)照。 筆者根據(jù)所掌握的學(xué)界現(xiàn)有的研究成果，從“拜占庭帝國與教會”、“拜占庭圣詠的發(fā)展過程”、“拜占庭教會的禮拜儀式”、“記載拜占庭圣詠相關(guān)的書籍手稿”、“拜占庭記譜法”、“拜占庭音樂調(diào)式體系”以及“拜占庭圣詠的影響”等幾個方面入手，對拜占庭時期圣詠音樂的概貌做一個大概的描述。對研究中尚未解答或仍然存在爭議的問題做一梳理。在此基礎(chǔ)上，確立其文化上的定位，并通過與西方圣詠發(fā)展的比照，探詢拜占庭圣詠在西方音樂史研究中的意義。 本文的結(jié)論是：拜占庭圣詠音樂是西方音樂早期發(fā)展中的源頭之一，許多對西方音樂此后發(fā)展至關(guān)重要的因素來自于此；另一方面，拜占庭音樂在相當(dāng)長的時間里(1000年左右)與西方音樂并存。因其各自不同的社會政治文化背景而走上了不同的發(fā)展道路，以不同的原則繼續(xù)發(fā)展，培育出不同的音樂傳統(tǒng)和觀念。拜占庭圣詠音樂中既顯示出傳統(tǒng)的民間特性，同時又是一種基于基督教傳統(tǒng)的音樂形式。因而，對拜占庭圣詠的研究必定要在跳出西方中心框架的基礎(chǔ)上，再回到西方音樂史的研究之中。但其意義不僅僅是為西方音樂史“補足”其中的某個環(huán)節(jié)，更可以通過另一個獨立的參照系的建立，達到對西方音樂的本質(zhì)和生長機制的更深入的認識和理解。
[Abstract]:Byzantine chanting is an indispensable part of the history of western music and is regarded as the intermediate link of the development of ancient heritage to western religious music. To this day, Western scholars have made fruitful achievements in the study of Byzantium chanting. But there is still not a small gap compared with the study of church chanting in the West, which has not been paid enough attention to in China. There is still controversy about the concept and definition of Byzantine chanting in academic circles. The study of Byzantine hymn in this paper mainly focused on the medieval Byzantine Empire period. Religious music used in the Greek-speaking Church of the Eastern Roman Empire (especially the Church of Constantinople) and chanting to Byzantium after the fall of the Byzantine Empire (1453). And the tradition of chanting around Byzantium, which is affected by it. According to the existing academic research results, From "the Byzantine Empire and the Church", "the Development of Byzantine Chronicles", "the liturgy of the Byzantine Church", "manuscripts of Books relating to Byzantine Chronicles", "Byzantine notation", "Byzantine Music Modular system" and "Byzantine" The influence of the Ching Ching, and so on. To make a general description of the general picture of the hymns of Byzantium period. To sort out the unanswered or still controversial questions in the study. On this basis, to establish its cultural orientation, and to compare it with the development of the western chants. To probe into the significance of Byzantine chanting in the study of western music history. The conclusion of this paper is that Byzantium chanting music is one of the sources of the early development of western music, and many of the factors that are crucial to the development of western music after that come from it; on the other hand, Byzantine music coexisted with Western music for quite a long time (about 1000 years). Because of its different social, political and cultural backgrounds, Byzantine music took different paths of development and continued to develop under different principles. Different musical traditions and concepts have been cultivated. Byzantine hymns show not only the folk characteristics of tradition, but also a form of music based on Christian tradition. The study of Byzantium eulogy is bound to return to the study of western music history on the basis of jumping out of the western central frame, but its significance is not only to "complement" one of the links in the western music history. Through the establishment of another independent frame of reference, we can have a deeper understanding of the nature and growth mechanism of western music.
【學(xué)位授予單位】：上海音樂學(xué)院
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2003
【分類號】：J609.1

【引證文獻】

相關(guān)碩士學(xué)位論文 前1條

1 王瑩;拜占庭音樂與頌詩研究[D];東北師范大學(xué);2007年

本文編號：1664320