秦汉乐府制度研究

发布时间：2018-08-30 14:21

【摘要】： 本文通过追溯秦汉礼乐建设的历史，采用立体的研究方法，深入考察了秦汉乐府制度的内部结构，著重探讨了乐员、乐器、乐类的来源、结构以及形成等问题，在此基础上揭示秦汉时期乐府制度建设的历史面貌。 “绪论”，回顾乐府制度研究的历史，以此为基础提出本文的中心问题，并对文中所涉及的重要概念予以界定。第一章“秦代乐府考论”，通过考察秦乐府职官制度建设的历史背景，详细探讨了秦代乐府职官的建置、乐员的组成、乐器的制作以及所含音乐品类诸问题，比较全面地勾勒出秦代乐府制度建设的历史面貌，揭示了乐府制度的产生在中国音乐制度发展史及中国乐府文学史上的重要地位和意义。另外，还讨论了秦代太府、乐府的二分结构，指出造成二者在音乐管理上的差异的根本原因；重点对乐府封泥“外乐”品及外祭之事进行研究，揭示了郊祭乐、宗庙乐在管理上的分野。第二章“西汉乐府的建置”，着重分析和讨论了汉初太乐的职能以及乐府简置的原因。在汉代礼乐制度建设的背景下，考察武帝“立乐府”的历史含义，认为它之所以成立与以下诸事有关：一、武帝兴郊祀之礼，二、建立“采诗”制度，三、司马相如等人造为诗赋，四、置协律都尉，五、扩建乐府，六、定百官制度。还考察了昭、宣、元、成、哀、平时期乐府制度的建置情况，并对新莽时期乐府改制做了详细论述。第三章“汉代的‘采诗’之官与‘采诗’”。本文认为，由於文化环境的变迁，周代即已出现的“采诗”之官，其职能在不同的历史阶段有不同型态的表现。大体来说：周代重视“采怨制之诗”，秦则重视“求代语、歌戏”，西汉时重视“采风俗、歌谣”，至东汉则重视“举谣言”。西汉之际随著武帝“立乐府”，“采诗”活动得以在“风俗使者”的名义下进行，其特点表现为：因民而作、追俗为制，新声娱乐、虚饰颂声，“举谣言”以察吏过。并认为在“采诗”的名义产生了汉代最早的一批乐府音乐体裁、乐府音乐文学体裁，从这个意义上说，汉代“采诗”具有“娱乐”与“观风”的双重功能。至於汉代“采诗”之风盛行的原因，本文认为，它与汉代“同姓封侯”及助祭制度密切相关。可以这么说，采择地方歌诗、风俗、谣言，一方面反映了中央政府对地方势力的重视，另一方面也是中央政府监督地方势力的一种手段。第四章“论《汉书·艺文志》所载西汉歌诗的渊源”(本章与王昆吾师合作)，在详细分析《汉书·艺文志》所录歌集之地域特徵，在此基础上，着力探求西汉“歌诗”的渊源。认为《汉书·艺文志》所录歌集大致可分为两种：采集之诗，造作之诗。如果说前者在“采诗”的名义得以进行，後者则是一种自觉的创作行为，二者共同构成西汉乐府歌诗主要来源。并进一步追溯诸歌集在地域文化上的传承性，认为诸歌集所涉地域，既与刘姓王的辖域相关，又与刘姓先祖栖居之地密切联系。第五章“掖庭女乐考”，本章旨在讨论两汉时代的掖庭管理制度，著重分析了掖庭女梁的功能、性筒及主要的音梁品颊。本文爵焉，春秋以降“覆壤梁崩” 女梁的主要功能在放娱梁。漠具之俊，，随著覆梁制度建殷的加强，以掖庭女梁焉代表的宫廷女梁的性矍逐渐登生由娱梁功能向瞪曦功能的卿樊，即大量掖庭女梁阴始参予祭祀、房中、朝舍、燕餐等覆徽活勤，道是促准漠代女架日翅繁盛的主要勤力，也是漠代帝王重砚掖庭女梁建殷的主要原因。另外，受楚地巫祭之夙的影譬，掖庭女梁也参予了宫廷内外的巫祭歌舞之事，退也是促使宫廷女梁登展的重要因素。本章遗指出相和歌、清商三稠曲是掖庭女梁中最主要的音梁品颧，二者既舆漠代宫廷梁府覆曦之梁相珊保，又是宫廷娱梁音梁的代表品颊，同峙也是蒲王、列侯、蒲卿、士夫、豪吏、富民女伎之梁的主要成分。业甜焉由放掖庭女梁的繁盛，影髻了中下食族蓄伎之夙的形成，道是促淮食族及民简梁府音梁迅猛登展主要因素。第六章“哀帝能梁府考瀚”。本章采用不同的分颊镖举，分别探对了西漠梁工的来源和粗成、西漠梁工的桔措和性黄、西漠案府的音梁品频。首先排列漠代割姓先祖稽保及其在攫徙遇程中的栖居之地，通遇封梁工地域特徽的分析，得出了漠代梁府音梁重视“晋、楚之臀”的看法，同峙爵焉遏颊梁工是被有意“采择”而来。指出漠代杭治者“制橙作梁”峙大致遵循四涸原具U:一、承粗先王之梁，二、追述祖宗事跻，三、重祝同姓封王，四、尊崇地方夙俗制度。业韶焉通四涸原RlJ具有普遍的意羲，焉脸代杭治者制橙作梁峙所遵徙。本章又捉案工的管理及其音梁辙能的角度，将“哀帝能梁府”中的梁工分焉鼓具、琴工、瑟工等二十三撞颊别，通遇封相阴音梁艰象的甜萧，忽焉漠代的梁府栈横宵嚓上穗掌宫廷梁事，梁府音梁艘现了钠郊祀、宗廓、房中、军梁焉一艘的特徽;同峙韶焉夙俗之梁遭入梁府俊握艇了一涸雅化的遇程，主要通遇在音梁表现形式上采用“驰聘郸衡之臀，曲格而奏雅”以及使用“德音”之器而使“文矍相摊”的手段来育现。在梁府音梁雅化的遇程中，形成了登富多彩的梁府文化:每一烦表演人具都代表了一幢表演方式，每一桓表演方式则代表了梁府文
[Abstract]:By tracing back the history of the construction of rites and music in the Qin and Han Dynasties, this paper makes an in-depth study of the internal structure of the Yuefu system in the Qin and Han Dynasties, focusing on the sources, structure and formation of musicians, musical instruments and music categories, and on this basis reveals the historical outlook of the construction of Yuefu system in the Qin and Han Dynasties.
"Introduction" reviews the history of Yuefu system research, and puts forward the central issues of this paper, and defines the important concepts involved in this paper.
Chapter one is "the textual research on Yuefu in Qin Dynasty". By investigating the historical background of the construction of Yuefu official system in Qin Dynasty, this paper discusses in detail the construction of Yuefu official system, the composition of musicians, the production of musical instruments and the types of music contained in it, and outlines the historical features of Yuefu system construction in Qin Dynasty, and reveals the emergence of Yuefu system in Qin Dynasty. In addition, the paper also discusses the dichotomy structure of Taifu and Yuefu in Qin Dynasty, and points out the fundamental reasons for the differences in music management between them; it focuses on the study of the "exotic music" and the exotic sacrifices of Yuefu, revealing the exotic sacrificial music and the temple music in the management. The division of the field.
In the second chapter, the construction of Yuefu in the Western Han Dynasty, the function of Taiyue in the early Han Dynasty and the reasons for the simplification of Yuefu are analyzed and discussed. Sima Xiangru and others made poems and fu. Fourth, set up the Yuefu system, expanded the Yuefu system, and established the Yuefu system.
The third chapter is "the official of collecting poems and the official of collecting poems in the Han Dynasty". This paper holds that due to the change of cultural environment, the official of collecting poems appeared in the Zhou Dynasty, whose functions have different forms in different historical stages. During the Western Han Dynasty, the activities of "collecting poems" were carried out under the name of "heralds of customs", characterized by: composing for the sake of the people, pursuing the custom as a system, new voices of entertainment, disguising the praises, and "rumors" in the name of "collecting poems". The earliest music genres and literature genres of Yuefu in the Han Dynasty are described. In this sense, poetry collecting in the Han Dynasty has dual functions of "entertainment" and "watching the wind". As for the reason why poetry collecting prevailed in the Han Dynasty, this paper holds that it is closely related to the system of "feudal princes with the same surname" and sacrificial AIDS in the Han Dynasty. Poems, customs and rumors, on the one hand, reflect the central government's attention to local forces, on the other hand, the central government is also a means of monitoring local forces.
Chapter Four "On the Origin of Songs and Poems in the Western Han Dynasty" in "Han Shu Yi Wen Zhi" (this chapter, in cooperation with Wang Kunwu), analyzes in detail the regional characteristics of the songs recorded in "Han Shu Yi Wen Zhi". On this basis, the author tries to explore the origin of "Songs and Poems" in the Western Han Dynasty. If the former is carried out in the name of "collecting poems", the latter is a conscious creative act. Both of them constitute the main source of Yuefu poems in the Western Han Dynasty. Department.
The fifth chapter is "examination of women's music in the court." this chapter aims to discuss the management system of the court in the Han Dynasty.
In the spring and Autumn period, the "cover the soil and beam collapse".
The main function of the female Liang is to play the role of Liang Liang. With the strengthening of the overlying beam system, the king of the court of the moon, Liang Yan, a woman in the court.
The sexuality of the representative court girders gradually emerged from the function of entertaining girders to the function of glaring, that is, a large number of Yeting girders.
Yin is the first to participate in sacrifices, the house, the house, the swallow meal and so on.
Diligence is also the main reason for Liang Jianyin, who is the king of the imperial court.
For example, Yeting Liang also participated in witch sacrifices, songs and dances inside and outside the palace, and retreated to promote the display of the court Liang.
An important factor. In this chapter, it is pointed out that the Qing Dynasty three thick tune is the most important sound beam, and the two is the song.
They were not only the Liang Xiangshan Bao, who was the representative of the Liang Yinliang, but also the face of the Liang Yinliang, who was enjoyed by the court.
Pu Wang, Li Hou, Pu Qing, Shi Fu, Hao Zheng, the main ingredient of the rich women's manual.
The prosperity of the Liang Dynasty has cast a shadow on the formation of the Zhongxia Cannibal People's Happiness Storage. The Tao promotes the rapid development of the Huai Cannibal People and Liang Fu Yin Liang in the folk bamboo slips.
Main factors of exhibition.
The sixth chapter is "Kaili nailang Fu Kao Han".
The origin and thickness of the work, the orange and the Yellow Sea, the sound and beam frequency of the West desert case.
Through the analysis of the special emblem of Fengliang Gonggong area, the author draws a conclusion that the surname-cutting ancestor's inspection and the place where he lived in the course of his migration
The idea of "the buttocks of Jin and Chu" was emphasized by the Yin Liang Liang of the dynasty.
It is pointed out that the "orange making beam" of the governor of the Dai Dynasty generally followed the four dry U: with the former king.
Liang, two, recounts the ancestral events, ranks three, remembers the same surname Wang Feng, and four, respects the local custom system.
Four the RlJ of dry land has a general meaning.
This chapter also focuses on the management of the case workers and their angles of sound, beam and rutting.
Drums, piano workers, serrants and so on, twenty-three bumps into the cheeks, and meets the sweet Hsiao of the Yin Yin Liang and the hard elephant.
On the night of the house, the palace of the court and the Liang Dynasty, Liang Fu, Liang Liang, appeared in the suburban sacrifices, the Zong Kuo, the Fang Zhong, and the army Liang Yanyi.
An emblem of elegance and refinement, especially in Yinliang.
In the form of expression, the writer uses "the buttocks of the temple, the style of the melody and the elegance" as well as the instrument of "De Yin" to make "Wen"
In the process of elegance of Liang Fu Yin Liang, Liang Fuwen became rich and colorful.
Hua: every annoying performance person represents a performance way, and every Hwan performance means Liang Fuwen.
【学位授予单位】：扬州大学
【学位级别】：博士
【学位授予年份】：2002
【分类号】：K232

【引证文献】