【摘要】：南北朝到盛唐所取得的藝術(shù)成就舉世公認(rèn)。其藝術(shù)成就如此輝煌,多與文化交流有關(guān)。從魏晉南北朝開(kāi)始,胡樂(lè)大規(guī)模進(jìn)入中原,逐步影響與改變了社會(huì)各個(gè)階層的審美趣味;隋唐時(shí)期,形成了以中原文化為基礎(chǔ),東西-南北的“十字型”文化交流態(tài)勢(shì),為唐代音樂(lè)的吸收、融合、創(chuàng)新發(fā)展奠定了堅(jiān)實(shí)的基礎(chǔ)。唐代音樂(lè)藝術(shù)成就能夠達(dá)到高峰,其經(jīng)歷了吸收、融合、創(chuàng)新三個(gè)階段,其中關(guān)于吸收這一階段的研究,具有重要的學(xué)術(shù)意義,因?yàn)樗茄芯亢髢蓚�(gè)階段的基礎(chǔ)。前人在此方面的研究上已經(jīng)取得了豐碩的成果,如楊蔭瀏、岸邊成雄等,但是,其間也存在尚需繼續(xù)討論的話題,如胡樂(lè)入華的史實(shí)與實(shí)際影響的考證,關(guān)于胡樂(lè)吸收的實(shí)踐原則與藝術(shù)觀念研究等。鑒于此,筆者希望在仔細(xì)研讀大量史料的基礎(chǔ)上,試圖深入探究華夏接受胡樂(lè)的實(shí)踐規(guī)律與指導(dǎo)理念。并以史為鑒,提示初唐對(duì)待外來(lái)音樂(lè)的寶貴經(jīng)驗(yàn),為新時(shí)代中華民族處理本國(guó)與外來(lái)文化的關(guān)系提供思路和方法借鑒。故本文從隋胡樂(lè)之傳入、初唐對(duì)胡樂(lè)的兼收并蓄、初唐兼收并蓄胡樂(lè)中“和”理念的實(shí)踐進(jìn)行論述。本文首先考察了南北朝至隋朝時(shí)期的胡樂(lè)進(jìn)入中華的情況,主要對(duì)胡樂(lè)的樂(lè)種、胡樂(lè)藝人、胡樂(lè)作品和樂(lè)器等做出了源流方面的梳理,同時(shí)提示了各個(gè)朝代宮廷對(duì)胡樂(lè)的態(tài)度與使用,將之作為考察初唐接受和擺置胡樂(lè)的事實(shí)基礎(chǔ)。接下來(lái),本文詳細(xì)考察了初唐時(shí)期雅樂(lè)、燕樂(lè)吸收胡樂(lè)的史實(shí),通過(guò)梳理初唐對(duì)胡樂(lè)樂(lè)種、樂(lè)律的擺置、分析胡樂(lè)藝術(shù)本體特征以及考察胡樂(lè)器的改良等,提示初唐是如何吸收胡樂(lè)的。最后,在考察史實(shí)的基礎(chǔ)上,本文提示了這一歷史時(shí)期吸收胡樂(lè)的實(shí)踐規(guī)律與實(shí)踐態(tài)度和理念,并認(rèn)為,“和”之理念,作為吸收胡樂(lè)的指導(dǎo)原則,將胡樂(lè)擺置入一個(gè)尊卑有序的秩序里,在這一秩序中,胡樂(lè)的精華被吸收,這雖豐富了藝術(shù)創(chuàng)新手段和審美情趣,但并不與華夏文化的傳統(tǒng)相沖突。
[Abstract]:The artistic achievements made from the Southern and Northern dynasties to the prosperous Tang Dynasty were recognized all over the world. Its artistic achievements are so brilliant that they are mostly related to cultural exchanges. Since the Wei, Jin and Southern and Northern dynasties, Hu Le entered the Central Plains on a large scale, gradually affecting and changing the aesthetic taste of all strata of society. During the Sui and Tang dynasties, the "cross" cultural exchange situation based on the Central Plains culture, east-south and north-south, laid a solid foundation for the absorption, integration, innovation and development of Tang Dynasty music. The achievements of music art in Tang Dynasty can reach the peak, which has gone through three stages: absorption, fusion and innovation. Among them, the research on absorption is of great academic significance, because it is the basis of the last two stages of the study. Previous studies in this field have made fruitful achievements, such as Yang Yinliu, Riverside Chengxiong and so on. However, there are also topics that need to be discussed, such as the textual research on the historical facts and actual influence of Hu Le's entry into China, the study of practical principles and artistic concepts absorbed by Hu Le, and so on. In view of this, the author hopes to explore the practical law and guiding idea of Huaxia's acceptance of Hu Le on the basis of careful study of a large number of historical materials. Taking history as a mirror, this paper suggests that the valuable experience of the early Tang Dynasty in dealing with foreign music provides ideas and methods for the Chinese nation to deal with the relationship between the country and foreign culture in the new era. Therefore, this paper discusses the practice of integrating Hu Le into Hu Le in the early Tang Dynasty and the concept of "he" in the early Tang Dynasty from the introduction of Sui and Hu Le. This paper first investigates the entry of Hu Le into China from the Southern and Northern dynasties to the Sui Dynasty, mainly combs the origin of Hu Le's music, Hu Le artists, Hu Le's works and musical instruments, and at the same time suggests the attitude and use of each dynasty to Hu Le as the factual basis for investigating the acceptance and placement of Hu Le in the early Tang Dynasty. Next, this paper investigates in detail the historical facts of Hu Le absorbed by Ya Le and Yan Le in the early Tang Dynasty, and through combing the arrangement of Hu Le music species and music laws in the early Tang Dynasty, analyzes the characteristics of Hu Le's art Noumenon and examines the improvement of Hu Musical Instruments, etc., and suggests how Hu Le was absorbed in the early Tang Dynasty. Finally, on the basis of investigating the historical facts, this paper suggests the practical law and practical attitude and idea of absorbing Hu Le in this historical period, and holds that the idea of "harmony", as the guiding principle of absorbing Hu Le, places Hu Le in an order of inferiority and order, in which the essence of Hu Le is absorbed, which enriches the means of artistic innovation and aesthetic taste, but does not conflict with the tradition of Chinese culture.
【學(xué)位授予單位】：山西大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2017
【分類號(hào)】：J609.2

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