变雅:庙堂雅乐的生命张力

发布时间：2018-01-26 14:08

本文关键词： 变雅庙堂文学清乐胡部新声三教入雅　出处：《浙江学刊》2009年05期 　论文类型：期刊论文

【摘要】：传统雅乐包括诗、乐、舞等,其核心是以郊庙歌辞为中心的庙堂文学,与古代帝王祭祀天地鬼神的宗教活动密切相关。"变雅"本属于《诗经》学史上与"正雅"相对的重要术语,是正统雅乐的自我更新机制,在庙堂文学创作中发挥了积极作用,具体体现为郑声入雅、清乐入雅、胡音入雅以及三教入雅。郑声入雅体现为民间俗乐进入雅乐表演体系,时间为春秋战国至汉代;清乐入雅时间为汉魏南朝;胡音入雅则从汉代开始,经历北朝,迄于唐代而臻于大盛;正因为吸收了民间俗乐、胡部音乐及道曲、佛曲等音乐文学的要素,促使庙堂雅乐从内容到表现形式发生了诸多新变。三教入雅指东汉以来儒、道、释三教对庙堂雅乐的深刻影响。而历代帝王频繁的宗教活动,也是"变雅"经常发生的原因,凡此都不同程度地体现了庙堂雅乐本身的生命张力。
[Abstract]:Traditional elegant music includes poetry, music, dance and so on, the core of which is temple literature centered on the songs of Jiao Temple. It is closely related to the religious activities of ancient emperors offering sacrifices to ghosts and gods in heaven and earth. "refined" is an important term in the history of the Book of songs, which is the self-renewal mechanism of orthodox elegant music. In the temple literary creation played a positive role, specifically reflected in Zheng Sheng into elegance, Qing music into elegance, Hu Yin into elegance and the three religions into elegance. Zheng Sheng into elegant folk music into the performance system. The time is from Spring and Autumn period to Han Dynasty; Qing music into the elegant time for the Han Wei Southern Dynasty; Hu Yin into elegance began in the Han Dynasty, experienced the Northern Dynasty, until the Tang Dynasty and reached great prosperity; Because of the absorption of folk music, Hu Bu music, Taoist music, Buddhist music and other elements of music literature, promote the temple elegant music from the content to the form of expression has undergone many new changes. The three religions into elegance refers to the Eastern Han Dynasty Confucianism, Taoism. The frequent religious activities of emperors in the past dynasties are also the reasons for the frequent occurrence of "refinement", which to some extent reflects the life tension of the elegant music of the temple hall.
【作者单位】：杭州师范大学古代文学与文献研究中心;
【基金】：国家社科基金项目《汉—唐国家祭祀形态与郊庙歌辞研究》(09BZW021) 教育部人文社科项目《汉—唐郊庙歌辞研究》(06JA75011-44024)阶段性成果
【分类号】：J609.2
【正文快照】： 上古时代,“乐”包括诗、乐、舞等综合性的艺术形式,在郊庙祭祀仪式中得到了直接体现。本文所谓“变雅”是作为一个文学理论的“通变”范畴和正统雅乐的自我更新机制而使用的。“变雅”不只是《诗经》学上的一个术语,时间也不只局限于西周末年厉、宣、幽三王时期,而是从上古

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