本文選題：燕樂二十八調(diào) + 《五弦譜》　； 參考：《上海音樂學(xué)院》2016年碩士論文

【摘要】：燕樂二十八調(diào)作為我國(guó)唐代的樂調(diào)理論,不僅影響了唐以后宋、元等朝代的音樂,更是流傳至日本,用于日本雅樂之中。那么流傳至日本的燕樂調(diào)理論是否依然保持著原樣,與唐代的燕樂調(diào)理論性質(zhì)、形態(tài)一致呢?燕樂二十八調(diào)在唐代的具體形態(tài)、流傳日本的方式及時(shí)間、在日本雅樂中的具體運(yùn)用、日本樂調(diào)與唐樂調(diào)的對(duì)比等問題是本文的研究重點(diǎn)和需要解決的問題。本文將以史學(xué)為基礎(chǔ),結(jié)合樂譜等資料對(duì)燕樂二十八調(diào)在唐代的具體形態(tài),以及東傳日本后的發(fā)展進(jìn)行分析論述。
[Abstract]:As the music theory of Tang Dynasty, Yanle 28 not only influenced the music of Song and Yuan dynasties after Tang Dynasty, but also spread to Japan and used in Japanese elegant music. So is the theory of Yan music in Japan still the same as that of the Tang Dynasty? The specific form of Yanle 28 tune in Tang Dynasty, the way and time of spreading in Japan, the concrete application in Japanese elegant music, and the comparison between Japanese tune and Tang tune are the key points and problems to be solved in this paper. On the basis of historiography, this paper analyzes and discusses the specific form of Yan Le 28 in Tang Dynasty and its development after spreading to Japan.
【學(xué)位授予單位】：上海音樂學(xué)院
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2016
【分類號(hào)】：J609.2;G206
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本文編號(hào)：2016907