【摘要】： 唐代是中國古代樂舞藝術(shù)發(fā)展的極盛時(shí)期,繁花似錦的宮廷音樂舞蹈,代表了當(dāng)時(shí)樂舞藝術(shù)所達(dá)到的最高水平。 唐代也是我國古代器樂藝術(shù)發(fā)展的顛峰時(shí)期。宮廷器樂規(guī)模宏大,樂器、樂種眾多,人才輩出,不僅成功地烘托、伴奏其時(shí)繁盛的歌舞藝術(shù),承擔(dān)各種浩大的宮廷祭祀、朝會(huì)宴享、出行儀仗等禮樂活動(dòng)之用樂任務(wù),自身還培育發(fā)展出許多獨(dú)立的器樂合奏、獨(dú)奏形式,例如,出現(xiàn)了“皇帝梨園弟子”這樣龐大的絲竹樂團(tuán),專門演奏玄宗皇帝酷愛之法曲。璀璨的唐代宮廷器樂藝術(shù),為多姿多彩的唐代表演藝術(shù)增添了無比耀眼的光輝,也在中國器樂史上濃墨重彩地書寫了燦爛篇章。 本論文以唐代宮廷各種各樣的樂隊(duì)的樂器配置、樂器組合為研究對(duì)象。力求較為全面、系統(tǒng)地梳理考訂史料,從微觀角度對(duì)各種樂隊(duì)所運(yùn)用的不同樂器組合,條分縷析,詳加比較,考辨唐代宮廷各類樂隊(duì)的具體組合及編配形式。進(jìn)而探索其形成條件、嬗變歷程以及社會(huì)影響等等,以揭示它們對(duì)唐代器樂、歌舞藝術(shù)的全面繁榮局面的出現(xiàn)所起的推動(dòng)作用。 樂器是音樂的物質(zhì)載體,樂隊(duì)組合是音樂最直接的物化體現(xiàn)之一,本文認(rèn)為以唐代音樂的分類標(biāo)準(zhǔn)來劃分宮廷所用之樂隊(duì)組合種類,較為合理�？紤]到宮廷、太常下轄太樂署、鼓吹署以及梨園與教坊等龐大樂舞機(jī)構(gòu)的客觀歷史存在,故本文以相應(yīng)機(jī)構(gòu)為經(jīng),以音樂性質(zhì)為緯。正文內(nèi)容分見下列五章: 第一章“唐代正樂之樂隊(duì)組合研究”,主要對(duì)當(dāng)時(shí)“正樂”所包括的雅樂、坐立二部伎、媽樂及文康樂、清樂、西涼樂的各種樂隊(duì)具體組合形式、樂器配置、樂隊(duì)排列等問題分別加以考述。 第二章“唐代四夷樂之樂隊(duì)組合研究”,以包括東夷、南蠻、西戎、北狄之樂的“四夷樂”樂隊(duì)組合形式為研究對(duì)象。梳理、考辨唐九、十部樂除清樂、西涼樂、媽樂及文康樂以外其余樂部的樂器組合形式。第一節(jié)“西域之樂隊(duì)組合”,分別考察龜茲樂、天竺樂、疏勒樂、安國樂、康國樂、高昌樂的樂隊(duì)組合形式。第二節(jié)“南蠻之樂隊(duì)組合”,主要梳理南詔樂、驃國樂、扶南樂的樂隊(duì)組合形式。第三節(jié)“東夷系及北狄系樂隊(duì)形式”主要對(duì)高麗樂、百濟(jì)樂的樂隊(duì)組合形式加以梳理。因有關(guān)唐代宮廷之中北狄樂樂隊(duì)形式的記述較少,故未對(duì)其詳加探討。 第三章“唐代宮廷鼓吹樂之樂隊(duì)組合研究”。第一節(jié)對(duì)唐代鼓吹樂五大部類各部中樂器的具體編配問題,詳加考述;第二節(jié)考訂唐代鼓吹十二案的樂器配置、樂隊(duì)組合方式等問題。第三節(jié)整理與分析唐代鹵簿中不同等級(jí)不同鼓吹樂隊(duì)的組合形式。第四節(jié)梳理、考證唐代宮廷其他場(chǎng)合所用鼓吹樂隊(duì)及其組合形式,如凱樂、行軍鼓吹樂及軍禮鼓吹樂,以及大儺、合朔伐鼓、夜警晨嚴(yán)、挽歌等不同鼓吹形式。 第四章“唐代宮廷其他樂器組合形式”。本章第一節(jié)和第二節(jié)考辨梨園、教坊等機(jī)構(gòu)的樂器組合形式。梨園是專門演奏“法曲”的宮廷音樂機(jī)構(gòu),具有一支龐大的絲竹管弦樂團(tuán)。教坊則專演所謂的俗樂歌舞。它們都是唐玄宗時(shí)在太樂署之外另設(shè)的音樂機(jī)構(gòu)。第一節(jié)便是對(duì)演奏法曲的樂隊(duì)組合形式加以考辨。第二節(jié)“唐代散樂之樂隊(duì)組合”,主要探討演奏百戲、歌舞戲、俳優(yōu)戲等俗樂為主的教坊樂隊(duì)組合形式。此外,獨(dú)奏是單件樂器構(gòu)成的獨(dú)特組合。唐代宮廷宴享“以部奉樂”的演奏形式,不同于宋代“以盞奉樂”,所以,唐代宮廷中的樂器獨(dú)奏,形式靈活,場(chǎng)合不定,朝會(huì)儀式活動(dòng)外亦常出現(xiàn)。故本文將宮廷出現(xiàn)的樂器獨(dú)奏形式,作為本章第三節(jié)考察內(nèi)容。 第五章結(jié)語部分,綜述各章研究所得,進(jìn)一步考察唐代樂器組合的發(fā)展變遷軌跡。指出在唐代中外文化大交流的背景下,雅、胡、俗樂逐漸融匯,相互交流吸收,加速了樂器組合的發(fā)展變化。特別是天寶十三載玄宗大力推行的胡部新聲與道調(diào)法曲“合作”,更標(biāo)志著各族器樂在宮廷的空前大融合,深刻影響樂器組合的發(fā)展嬗變。另一方面,音樂史上由歌舞樂為代表的中古伎樂階段向宋以后以戲曲音樂為代表的歷史階段的巨大轉(zhuǎn)型,也加速了中晚唐宮廷器樂組合的嬗變。樂器組合的變遷,既是時(shí)代影響下藝術(shù)發(fā)展的需要,也有力地促進(jìn)了音樂歌舞的變遷,加速了新的藝術(shù)高峰的出現(xiàn)。
[Abstract]:The Tang Dynasty was the peak period of the development of Chinese ancient music and dance, and the flourishing palace music and dance represented the highest level of music and dance at that time.
The Tang Dynasty was also the peak period of the development of ancient instrumental music in China. The palace instrumental music was large in scale, musical instruments, many kinds of music, many talented people, not only successful, accompanied by the flourishing art of singing and dancing, taking on a variety of great palace sacrifices, enjoying the banquet, traveling, and other ceremonial activities, but also cultivating and developing a lot of independence. The instrumental ensemble, solo form, such as the appearance of the huge bamboo and bamboo Orchestra of the emperor's Pear Garden disciples, specially played the music of the Emperor Xuanzong. The brilliant Tang Dynasty palace instrumental art added to the colorful and colorful performing art of the Tang Dynasty, and wrote a brilliant chapter in the history of Chinese instrumental music.
In this paper, the instrument configuration and musical instrument combination of all kinds of court bands in the Tang Dynasty are taken as the research object. The formation conditions, evolution process and social influence, etc., are to reveal their driving effect on the emergence of the overall prosperity of instrumental music and song and dance art in the Tang Dynasty.
The musical instrument is the material carrier of music, and the band combination is one of the most direct materialization of music. This article holds that it is more reasonable to classify the band combination of the court by the classification standard of the Tang Dynasty. The text is divided into the following five chapters.
The first chapter, "the study of the band combination of the Tang Dynasty," is mainly about the musical composition of the band, including the Yale, the two Kabuki, mama music and Kangle, the music, the Western cool music, the arrangement of musical instruments, the arrangement of the band and so on.
The second chapter, "the study of the band combination of the four Yi music in the Tang Dynasty", took the combination form of the "four Yi" bands, including Dongyi, Nan man, Xion, and North Di's music as the research object. To comb, examine and distinguish between the Tang nine, the ten music division music, the Western cool music, the Mama music and the Kangle's Yu Yue Department, the first section of "the band combination of the western regions", respectively. Kamkkasa, Tianzhu music, Shule music, an Guo Le, Kang Guo Le, high Changle band combination form. The second section "the band combination of South man", mainly combing the band combination of Nanzhao music, puma national music and Fu Nan music. The third section of "Dongyi department and the North Department band form" mainly combed the form of the band of Gao Li le and Baiji music. There are few records about the North Di band in the Tang Dynasty, so it has not been discussed in detail.
The third chapter, "the study of the band combination of the court music in the Tang Dynasty". The first section of the Tang Dynasty, the five parts of the musical instruments of the specific arrangement of the Ministry of music, the second section of the Tang Dynasty to test the twelve cases of the musical instrument configuration, band combination and other issues. The third section collated and analyzed the Tang Dynasty halogen books in different grades and different percussion bands Combination form. The fourth section combed, textual research on the other occasions in the palace of the court and its combination forms, such as Keller, marching music and military ritual music, as well as big Nuo, Shuo felling drum, night alarm morning, Elegy and other different forms of advocacy.
The fourth chapter, "the combination of other instruments in the court of the Tang Dynasty". The first and second sections of this chapter examine the musical instruments of the pear orchard and the church and other institutions. The pear garden is a court music institution that specializes in "French music". It has a huge Orchestra of the silk string. The square is specially designed for the so-called pop music and dance. All of them are in the Tai Le Department at Tang Xuanzong's time. The first section of the music organization. The first section is to examine the band combination of the music music. The second section, "the band combination of the Tang Dynasty," mainly discusses the combination of popular music, such as playing hundred plays, singing and dancing, haiku and so on. In addition, the solo is a unique combination of single piece music. The playing form of the Song Dynasty is different from the Song Dynasty, so the musical instrument solo in the court of the Tang Dynasty is flexible, the occasion is indeterminate, and the ceremonial activities of the Dynasty often appear. Therefore, this article will take the form of musical instruments appearing in the court as the content of the third section of this chapter.
The fifth chapter is the concluding part, which summarizes the study of each chapter and further examines the development and changes of the musical instruments in the Tang Dynasty. It points out that in the context of the great cultural exchange between China and foreign countries, elegance, Hu, and folk music gradually merged, exchanged and absorbed each other, and accelerated the development and changes of the musical instrument combination. The "cooperation" of the tune music symbolizes the unprecedented integration of all ethnic instrumental music in the court, which profoundly affects the development and evolution of the musical instrument combination. On the other hand, the great transformation of the middle ancient Kabuki stage, represented by the music and dance music as the representative of the song and dance music in the history of music, has also accelerated the evolution of the palace instrumental music combination in the middle and late Tang Dynasty. The change of musical instruments is not only the need of the development of art under the influence of the times, but also the change of music and dance, and accelerates the emergence of new artistic peak.
【學(xué)位授予單位】：中國藝術(shù)研究院
【學(xué)位級(jí)別】：博士
【學(xué)位授予年份】：2008
【分類號(hào)】：J609.2

【引證文獻(xiàn)】

相關(guān)期刊論文 前1條

1 潘軼;周穎;;淺析中國古代樂器的演變和發(fā)展[J];蘭臺(tái)世界;2012年10期

相關(guān)博士學(xué)位論文 前4條

1 張曉娟;中國弦樂史研究六十年（1949-2009）[D];福建師范大學(xué);2010年

2 亓娟莉;《樂府雜錄》研究[D];西北大學(xué);2009年

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本文編號(hào)：2133316