宋代樂隊編制研究
本文選題:宋代 + 樂隊; 參考:《河南大學(xué)》2001年碩士論文
【摘要】:本論文主要以宋代樂隊的編制為研究對象。宋代樂隊的編配方式及其功用、 分類特點等內(nèi)容,是其研究的主要內(nèi)容。在研究方法上,主要依據(jù)記錄宋代音樂 活動以及有關(guān)樂器編制情況的音樂歷史文獻(xiàn),,以及保留至今的宋代音樂文物。力 求通過文獻(xiàn)與文物的互補和互證來達(dá)到研究的目的。 全文的正文共分為三章。 第一章“宮廷樂隊編制”,對宮廷中雅樂樂隊(包括宋初鼓吹十二案、大晟 府與宮架樂隊、登歌樂隊等有關(guān)內(nèi)容)、宴樂樂隊(包括教坊樂、云韶部、四夷 樂樂隊等有關(guān)內(nèi)容)、鼓吹樂隊(包括狹義的鼓吹樂、隨軍番部大樂、馬后樂、 鈞容直、東西班樂的樂隊等有關(guān)內(nèi)容)以及其他樂隊的編配、組合方式進(jìn)行研 究。 第二章“民間樂隊編制”,主要對雜劇伴奏樂隊、說唱類與歌唱類伴奏樂 隊、舞旋樂隊、純器樂樂隊的編配、組合方式進(jìn)行研究。 第三章“宗教樂隊”,主要對宋代的一些佛教、道教活動中的樂隊編配、組 合方式進(jìn)行研究。 本文的研究,不僅通過對有關(guān)音樂文獻(xiàn)和音樂文物的整理、分析,對宋代各 種類型的樂隊編配、組合形式給以梳理、歸納,并且,與此同時,也更注意從歷 史研究的角度,從原本散落的史料中,對各類樂隊編制在歷時中的發(fā)展和演變給 予充分的注意。例如依據(jù)現(xiàn)有的史料,對宋代教坊樂在不同時期存在的、以鼓、 板、笛類樂器為其樂隊主要成分的樂隊編制,從其發(fā)展、演變的角度,進(jìn)行研 究,甚至將其前源推至唐代,再結(jié)合宋代文化轉(zhuǎn)型這一大的文化背景,探究影響 和制約這類樂隊發(fā)展、演變的背后原因。對于本文的主要研究內(nèi)容以及取得的學(xué) 術(shù)成果,專有“結(jié)論”一節(jié)給予說明。 文后又以“附錄一”和“附錄二”的形式,列出論文研究中經(jīng)系統(tǒng)梳理而形 成的文物和文獻(xiàn)整理成果:《宋代音樂文物反映的樂隊狀況》、《<宋代樂隊編 制研究>史料匯編》。
[Abstract]:This thesis mainly takes the compilation of the Song Dynasty band as the research object. The arrangement and function of Song Dynasty Band, The characteristics of classification are the main contents of its research. In terms of research methods, it is mainly based on the recording of Song Dynasty music. Activities and musical instruments related to the compilation of historical literature, as well as the preservation of the Song Dynasty music relics. Force In order to achieve the purpose of the research through the complementary and mutual proof of literature and cultural relics. The text is divided into three chapters. The first chapter, "the compilation of court bands", deals with elegant music bands in court (including advocating twelve cases in the early Song Dynasty). The government and the palace shelf band, the singing band and so on related content, the banqueting band (including the teaching square music, the cloud shao part, four Yi Music team and other related content, advocating the band (including narrow sense of music, along with the army Dale, behind the music, Jun Rong straight, the Eastern and Western Band Band, etc.) and the other band's arrangement, the combination way carries on the research. Research. The second chapter, "Folk Band compilation", mainly for the zaju accompaniment band, rap and singing type accompaniment music Team, dance band, pure instrumental band arrangement, combination of research. The third chapter "religious band", mainly to some of the Song Dynasty Buddhism, Taoism activities of the band allocation, group The combined mode is studied. The study of this paper not only through the relevant music literature and music cultural relics collation, analysis, the Song Dynasty Types of bands are arranged, combined forms are combed, summed up, and, at the same time, more attention is paid to the calendar. From the perspective of historical research, from the original scattered historical materials, the development and evolution of various bands in the diachronic Give full attention. For example, according to the existing historical data, to the Song Dynasty in different periods of the existence of Fangyue, to drum, The composition of a band that is the main component of its band and is studied in terms of its development and evolution. Research, even push its former source to the Tang Dynasty, and then combined with the cultural transformation of the Song Dynasty, this big cultural background, explore the impact And restrict the development of such bands, the reasons behind the evolution. The main contents of this paper and the science of its achievement Technical achievements are explained in the exclusive "conclusion" section. Then, in the form of "Appendix I" and "Appendix II", the paper is listed in the form of systematic combing. Cultural relics of Song Dynasty and the results of Literature collation: "the State of the Band reflected by the Cultural relics of the Song Dynasty", < < the Song Dynasty Orchestra Editing A compilation of historical materials.
【學(xué)位授予單位】:河南大學(xué)
【學(xué)位級別】:碩士
【學(xué)位授予年份】:2001
【分類號】:J609
【引證文獻(xiàn)】
相關(guān)期刊論文 前1條
1 康瑞軍;;宋代宮廷音樂機構(gòu)與樂官制度考述——以元豐改制到紹興時期為例[J];浙江藝術(shù)職業(yè)學(xué)院學(xué)報;2009年01期
相關(guān)博士學(xué)位論文 前3條
1 康瑞軍;宋代宮廷音樂制度研究[D];上海音樂學(xué)院;2007年
2 劉洋;唐代宮廷樂器組合研究[D];中國藝術(shù)研究院;2008年
3 徐利華;宋代雅樂樂歌研究[D];南開大學(xué);2012年
相關(guān)碩士學(xué)位論文 前10條
1 初益辰;宋代宮廷音樂機構(gòu)設(shè)置研究[D];山東大學(xué);2010年
2 王旋;篳篥的源流及東傳日本、朝鮮的研究[D];上海音樂學(xué)院;2011年
3 高麗那;宋時期河北音樂歷史研究[D];河北大學(xué);2011年
4 王娟;《試論山西絳州鼓樂》分析[D];中央音樂學(xué)院;2011年
5 王菲菲;兩宋間歌舞初探[D];福建師范大學(xué);2003年
6 汪洋;宋代五禮儀式音樂研究[D];河南大學(xué);2005年
7 劉媛媛;宋代宮廷音樂機構(gòu)研究[D];武漢音樂學(xué)院;2007年
8 史凱敏;鼓吹(樂)署考[D];河南大學(xué);2008年
9 董旭彤;隋唐至明代禮樂觀念變化辨析[D];中國藝術(shù)研究院;2013年
10 胡倩;論唐代鼓吹樂的興盛[D];溫州大學(xué);2013年
本文編號:1838315
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