拜占庭圣咏初探

发布时间：2018-03-25 18:24

本文选题：拜占庭圣咏　切入点：记谱法　出处：《上海音乐学院》2003年硕士论文

【摘要】：拜占庭圣咏是西方音乐史中不可或缺的一个重要部分，被视为古代遗产向西方宗教音乐发展的中间环节。时至今日，西方学界在拜占庭圣咏的研究上取得了丰硕的成果，但与西方教会圣咏研究相比还显然有不小的差距。就国内而言，这方面的研究尚未引起足够的重视。学界对拜占庭圣咏的概念和界定尚存争议，本文对拜占庭圣咏的研究主要集中在中世纪拜占庭帝国时期，，说希腊语的东罗马帝国教会(特别是君士坦丁堡教会)中所使用的宗教仪式音乐，同时，对拜占庭帝国灭亡(1453年)后的拜占庭圣咏，以及拜占庭周围受其影响地区的圣咏传统加以适当关照。笔者根据所掌握的学界现有的研究成果，从“拜占庭帝国与教会”、“拜占庭圣咏的发展过程”、“拜占庭教会的礼拜仪式”、“记载拜占庭圣咏相关的书籍手稿”、“拜占庭记谱法”、“拜占庭音乐调式体系”以及“拜占庭圣咏的影响”等几个方面入手，对拜占庭时期圣咏音乐的概貌做一个大概的描述。对研究中尚未解答或仍然存在争议的问题做一梳理。在此基础上，确立其文化上的定位，并通过与西方圣咏发展的比照，探询拜占庭圣咏在西方音乐史研究中的意义。本文的结论是：拜占庭圣咏音乐是西方音乐早期发展中的源头之一，许多对西方音乐此后发展至关重要的因素来自于此；另一方面，拜占庭音乐在相当长的时间里(1000年左右)与西方音乐并存。因其各自不同的社会政治文化背景而走上了不同的发展道路，以不同的原则继续发展，培育出不同的音乐传统和观念。拜占庭圣咏音乐中既显示出传统的民间特性，同时又是一种基于基督教传统的音乐形式。因而，对拜占庭圣咏的研究必定要在跳出西方中心框架的基础上，再回到西方音乐史的研究之中。但其意义不仅仅是为西方音乐史“补足”其中的某个环节，更可以通过另一个独立的参照系的建立，达到对西方音乐的本质和生长机制的更深入的认识和理解。
[Abstract]:Byzantine chanting is an indispensable part of the history of western music and is regarded as the intermediate link of the development of ancient heritage to western religious music. To this day, Western scholars have made fruitful achievements in the study of Byzantium chanting. But there is still not a small gap compared with the study of church chanting in the West, which has not been paid enough attention to in China. There is still controversy about the concept and definition of Byzantine chanting in academic circles. The study of Byzantine hymn in this paper mainly focused on the medieval Byzantine Empire period. Religious music used in the Greek-speaking Church of the Eastern Roman Empire (especially the Church of Constantinople) and chanting to Byzantium after the fall of the Byzantine Empire (1453). And the tradition of chanting around Byzantium, which is affected by it. According to the existing academic research results, From "the Byzantine Empire and the Church", "the Development of Byzantine Chronicles", "the liturgy of the Byzantine Church", "manuscripts of Books relating to Byzantine Chronicles", "Byzantine notation", "Byzantine Music Modular system" and "Byzantine" The influence of the Ching Ching, and so on. To make a general description of the general picture of the hymns of Byzantium period. To sort out the unanswered or still controversial questions in the study. On this basis, to establish its cultural orientation, and to compare it with the development of the western chants. To probe into the significance of Byzantine chanting in the study of western music history. The conclusion of this paper is that Byzantium chanting music is one of the sources of the early development of western music, and many of the factors that are crucial to the development of western music after that come from it; on the other hand, Byzantine music coexisted with Western music for quite a long time (about 1000 years). Because of its different social, political and cultural backgrounds, Byzantine music took different paths of development and continued to develop under different principles. Different musical traditions and concepts have been cultivated. Byzantine hymns show not only the folk characteristics of tradition, but also a form of music based on Christian tradition. The study of Byzantium eulogy is bound to return to the study of western music history on the basis of jumping out of the western central frame, but its significance is not only to "complement" one of the links in the western music history. Through the establishment of another independent frame of reference, we can have a deeper understanding of the nature and growth mechanism of western music.
【学位授予单位】：上海音乐学院
【学位级别】：硕士
【学位授予年份】：2003
【分类号】：J609.1

【引证文献】