本文選題：隋唐 + 宮廷音樂　； 參考：《南京藝術學院》2016年博士論文

【摘要】：在歷史發(fā)展的長河中,繁若星河的中國表演藝術家以其璀璨光彩的藝術創(chuàng)造為世人矚目。歷經(jīng)千錘百煉,中國音樂藝術以其精湛的表演、崇高的審美情趣、偉大的藝術精神和獨特的理論體系在世界樂壇獨樹一幟。在“尋根問祖”、“文化認同”以及“文化自覺”等思想理念指導下,本文通過歷史文獻、考古文物以及民俗調查等多方面的材料較為全面的展示我國隋唐時期博大精深的音樂表演藝術,以期增強國人感知、認知以及正確評價和創(chuàng)意發(fā)展中國傳統(tǒng)音樂文化的使命感、責任感。全文由四個部分,六個章節(jié)組成。第一部分(序論),主要對選題目的與意義以及有關隋唐宮廷音樂研究的學術前史進行宏觀論述。第二部分(第一、二、三章),主要對隋唐雅樂表演進行重點考量。隋唐統(tǒng)治者遵循先代帝王“考尋古典”、“詳定雅樂”之傳統(tǒng),并最終在用樂場合、表演儀程、樂懸陳設、樂律宮調、文武二舞編創(chuàng)、樂工舞隊人數(shù)、禮樂服飾裝扮、樂曲旋律及其歌詞創(chuàng)制等諸多方面,形成了一套相對穩(wěn)定與規(guī)范的儀式音樂表演體系,既體現(xiàn)對天、地、人祖的尊崇與敬畏,又無時無刻不體現(xiàn)出皇權至上的無限榮光�？v觀祭祀天、地、人祖大典的行進過程,娛神表演的雅樂歌舞乃是儀式大典中最為重要的內(nèi)容。從最初的降(迎)神,一直到最后全部儀式結束的送神,雅樂歌舞表演如影隨行,以此表達人們對天地孕育生靈、哺乳滋潤萬物以及人祖建功立業(yè)、繁衍后代的感恩之情。隋唐宮廷雅樂不僅是三代禮樂的繼承和發(fā)展,更是遠古先民生殖崇拜祭祀歌舞的延續(xù)和“新生”。第三部分(第四、五、六章),重點考察了隋唐娛樂達歡的宴樂表演。伴隨漢魏六朝第二次民族大融合的深入發(fā)展,胡樂入主中原。面對新的文化發(fā)展態(tài)勢,隋唐統(tǒng)治者采取了兼容并蓄、多元發(fā)展的有效策略,并先后建立了“多部樂”、“二部伎”等形態(tài)的宴樂表演體制。與此同時,雜以胡夷之伎的百戲、俳優(yōu)“你方唱罷我登場”,可謂異彩紛呈,熱鬧非凡!隋唐文化南北交融、胡漢交匯,在這文化交叉融合的過程中,中國古代音樂文化得到迅猛發(fā)展,極為顯著的特征就是隋唐宴樂歌舞表演藝術的高度繁榮。如此豐富的音樂藝術品種不僅是華夏各民族生命力和創(chuàng)造力的高度體現(xiàn),也是中國古代音樂文化“多樣性”的生動展示。第四部分(結語),是對全文研究內(nèi)容的歸納、評論與升華,并在此基礎上提出:當前中國音樂表演藝術發(fā)展要在“適度”發(fā)揮音樂娛樂功能的同時,更要關注音樂的倫理、道德之教化功能,尤其重視古人利用儀式音樂表演達到“敬天”、“崇地”、“尊祖”以及“尊師重道”之傳統(tǒng)。歌詩歌詩,何者為“詩”?筆者認為,歌詩就是在桑臺、廟宇前向神靈祈福時歌唱詠詩。因此,古代禮樂表演最初都或多或少帶有“神性”,而目前中國音樂表演藝術的“神性”已基本消失殆盡。
[Abstract]:In the long history of development, the numerous Chinese performing artists for their brilliant artistic creation for the attention of the world. Chinese music art is unique in the world with its exquisite performance, lofty aesthetic taste, great artistic spirit and unique theoretical system. Guided by the ideas of "seeking roots and asking ancestors", "cultural identity" and "cultural consciousness", this paper adopts historical documents. Archaeological relics and folklore investigation and other materials comprehensively display the broad and profound music performing arts of the Sui and Tang dynasties, in order to enhance the people's perception, cognition, correct evaluation and creative development of the sense of mission of Chinese traditional music culture. A sense of responsibility. The full text consists of four parts and six chapters. The first part mainly discusses the purpose and significance of the topic and the preacademic history of the study of court music in the Sui and Tang dynasties. The second part (the first, second, three chapters, mainly on Sui and Tang Dynasty Ya Yue performance focus. The rulers of the Sui and Tang dynasties followed the tradition of "searching for Classical" and "setting up elegant Music" in the early dynasties. Finally, they performed on the occasion of music, performing instrument Cheng, music hanging furnishings, music law and palace tune, compiling and creating two dances, the number of musicians and dancers, and the dress costumes of etiquette and music. Music melody and its lyrics have formed a set of relatively stable and standardized ritual music performance system, which not only embodies the reverence and awe of heaven, earth and ancestors, but also reflects the boundless glory of the supremacy of imperial power all the time. Throughout the procession of sacrifice to heaven, earth and ancestors, the most important part of the ceremony is to entertain the music and dance performed by the gods. From the beginning to the end of the ceremony, the performance of music, song and dance is accompanied by the shadow, which expresses people's gratitude to heaven and earth for gestating life, suckling and nourishing all things, and creating meritorious service for the ancestors, and to multiply the future generations. Sui and Tang court elegant music is not only the inheritance and development of three generations of ritual music, but also the continuation and "new life" of ancient ancestors' reproductive worship, sacrifice, song and dance. The third part (the fourth, fifth and sixth chapters), focuses on the entertainment of the Sui and Tang dynasties. With the further development of the second national integration in the Han, Wei and six dynasties, Hu Le entered the Central Plains. In the face of the new cultural development situation, the rulers of Sui and Tang dynasties adopted an effective strategy of all-embracing and pluralistic development, and successively established the "multi-part music", "two plays" and other forms of banquet performance system. At the same time, mixed with Hu Yi of a hundred drama, Paiyou "you sing me on the stage", it can be described as colorful, particularly lively!!! The culture of Sui and Tang dynasties intermingled with the north and south and the Hu and Han dynasties. In the process of the culture crossing and merging, the Chinese ancient music culture developed rapidly, and the extremely remarkable characteristic was the high prosperity of the performing arts of the Sui and Tang dynasties' banquets, songs and dances. Such a rich variety of music art is not only a high embodiment of the vitality and creativity of all ethnic groups in China, but also a vivid display of the "diversity" of ancient Chinese music culture. The fourth part (conclusion) is the summarization, comment and sublimation of the research contents of the full text. On the basis of this, the author points out that the current development of Chinese music performing arts should give full play to the function of music entertainment and pay more attention to the ethics of music at the same time. The function of morality, especially paying attention to the tradition of "respecting heaven", "worshiping earth", "respecting ancestors" and "respecting teachers" by the ancients. Song poetry poetry, what is "poetry"? The author believes that song poetry is singing poetry in Sangtai, the temple to pray for the gods. Therefore, the ancient performance of ritual and music had more or less "divinity" at first, but now the "divinity" of Chinese music performing art has basically disappeared.
【學位授予單位】：南京藝術學院
【學位級別】：博士
【學位授予年份】：2016
【分類號】：J609.2
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本文編號：1844015