本文選題：唐樂 + 唐樂器��； 參考：《上海音樂學(xué)院》2009年博士論文

【摘要】： 本文由緒論、正文、結(jié)論三個主要部分構(gòu)成。 緒論部分主要陳述了本課題的研究目的與意義、研究方法、前人的研究現(xiàn)狀。 正文部分,從四個方面對朝鮮前期(1392-)的唐樂器研究進(jìn)行闡述。一、韓國古三國時期在朝鮮半島存在的樂器。主要是考察有關(guān)高句麗、百濟(jì)、新羅的文獻(xiàn)和考古學(xué)史料中出現(xiàn)的樂器,指出韓國古三國的上述樂器有相當(dāng)一部分接受了中國的,而新羅在統(tǒng)一朝鮮半島以后接受高句麗、百濟(jì)的樂器;二、高麗時期在朝鮮半島存在的樂器。主要考察在高麗時期接受中國的先進(jìn)音樂的情況和其作用;三、朝鮮前期在宮廷所使用的中國俗樂器的變化。主要考察朝鮮前期文獻(xiàn)中記載的唐樂器的變化,而且在《樂學(xué)軌范》“唐部樂器圖說”淵源的來源和考察在朝鮮前期使用的13種唐樂器中11種樂器的韓國化過程;四、古朝鮮半島的音樂機(jī)構(gòu)。主要考察朝鮮前期宮廷音樂機(jī)構(gòu)與官職的淵源與構(gòu)成,而在其一世紀(jì)左右的發(fā)展過程中唐樂在朝鮮的地位和樂器的韓國化過程的一面。 本文在結(jié)論部分提出,在朝鮮時期唐樂的發(fā)展和唐樂器的韓國化的大背景下,朝鮮世宗和成宗時期唐樂器的變化呈現(xiàn)出顯著的區(qū)別。在世宗時期(1418-1450)開始整備樂器,新創(chuàng)作樂曲,整理雅樂等等的音樂文化事業(yè)中,需要了一種朝鮮音樂的發(fā)展,到成宗時期(1469-1494)以后很多中唐樂器本身已經(jīng)有不少的變化,而且這些樂器在朝鮮本土音樂伴奏時也使用。自此,宮廷音樂中樂的成分得到了極大的加強(qiáng)。所以通過研究高句麗、百濟(jì)、新羅和高麗時期從中國進(jìn)來的樂器,可以發(fā)現(xiàn):朝鮮前期除了雅樂的極大的發(fā)展以外,還具有唐樂的發(fā)展及其音樂的韓國化,而且在一定程度上也經(jīng)歷了唐樂器的韓國化過程。
[Abstract]:This paper consists of three main parts: introduction, text and conclusion. The introduction mainly describes the purpose and significance of the research, the research methods, and the current situation of previous research. Body part, from four aspects of the Korean early stage of 1392 -) Tang Musical instrument study was expounded. The first is the musical instrument that existed on the Korean Peninsula during the three Kingdoms period. It is mainly to examine the instruments appearing in the literature and archaeological historical materials of Koguryo, Baiji and Silla. It is pointed out that some of the above-mentioned instruments in the three countries of Korea have accepted Chinese ones, while Silla accepted Koguryo after the reunification of the Korean Peninsula. Baiji instruments; second, the Korean peninsula during the Korean period of the musical instruments. It mainly examines the reception of Chinese advanced music in Korea and its role; third, the changes of the Chinese popular musical instruments used in the court in the early period of Korea. This paper mainly studies the changes of Tang musical instruments recorded in the early Korean literature, and the origin of Tang Bu's musical instruments' picture theory in Le Xue Fan and the Korean process of 11 of the 13 Tang musical instruments used in the early period of Korea. A musical institution on the Korean peninsula. This paper mainly examines the origin and composition of the court music organizations and official posts in the early period of Korea, and the position of Tang music in Korea and the South Korean side of musical instruments in the process of its development in the first century or so. In the conclusion part, it is pointed out that under the background of the development of Tang Le in Korean period and the South Korean of Tang musical instruments, the changes of Korean Shizong and Chengzong Tang musical instruments show significant difference. During the period of Shizong (1418-1450), he began to prepare musical instruments, compose new music, arrange elegant music, and other musical and cultural undertakings, and needed a kind of development of Korean music. By the time of becoming an emperor, there had been many changes in the instruments themselves in the mid-Tang Dynasty. And these instruments are also used when accompanied by North Korean native music. Since then, the music in court music has been greatly strengthened. Therefore, by studying the musical instruments that came in from China during the periods of Koguryo, Baiji, Silla and Koryo, we can find that in the early stage of Korea, in addition to the great development of elegant music, it also had the development of Tang Le and its South Korean music. To some extent, it also experienced the Korean process of Tang musical instrument.
【學(xué)位授予單位】：上海音樂學(xué)院
【學(xué)位級別】：博士
【學(xué)位授予年份】：2009
【分類號】：J609.2

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本文編號：1938677