论唐代法曲的起源与流变

发布时间：2018-03-02 00:03

本文关键词： 唐代音乐法曲音乐形式起源流变　出处：《武汉音乐学院》2006年硕士论文　论文类型：学位论文

【摘要】： 法曲作为一种独特的歌舞音乐体裁,出自清商而始于隋,在历经了中原音乐的沿革、外来音乐的吸收与中外音乐的融合之后,到唐代达到了其发展的鼎盛时期。之后,法曲作为唐代宫廷燕乐的一种重要形式开始日益衰颓,演奏法曲机构已解散,梨园弟子大量流入民间。但是,一个时代的音乐文化面貌一旦形成,不会由于政治、经济的衰落立即消失殆尽,而是继续在一定范围和阶段内延续,或形成某种新的音乐形式,或成为基因注入其它音乐形式。法曲不仅对我国唐以后民族音乐的发展产生过重要影响,而且对东亚邻国民族音乐文化的发展也起到了积极的推动作用,尤其是日本雅乐和朝鲜的乡乐。本文主要运用史学和文献学相结合的研究方法,以历史为主线,文献史料为基础,以唐代法曲的起源与流变为切入点,阐释其发展脉络,探究其历史文化的轨迹及其成因和所产生的影响。本论文主要包括三个部分:第一部分,法曲的艺术渊源。对于法曲的艺术渊源,笔者在诸多论述的基础上,运用历史学和文献学的研究方法,系统论述了“法曲系出自清商,以清商为基础再融合部分的道曲佛曲以及若干外族乐(胡乐)而成的一种新乐”;第二部分,法曲在唐代的发展。其脉络为,初唐法曲逐渐受到重视,盛唐法曲处于全面繁荣的状态,“安史之乱”后法曲逐渐衰落。其中还论及法曲的风格特点,法曲的曲式结构、舞蹈、乐器伴奏的变化,法曲在唐代燕乐歌舞中的地位,唐代法曲与大曲的关系等;第三部分,法曲的遗存与流布。主要考证唐代法曲在宋代的遗存及在日本、朝鲜等国的流布情况。
[Abstract]:As a unique musical genre of song and dance, French music originated from the Qing Dynasty and began in the Sui Dynasty. After the evolution of the Central Plains music, the absorption of foreign music and the fusion of Chinese and foreign music, it reached the peak of its development in the Tang Dynasty. As an important form of Yan music in the Tang Dynasty, the legends have been disbanded, and the disciples of Li Yuan have entered the people in large numbers. However, once the musical and cultural outlook of an era is formed, it will not be due to politics. The decline of the economy immediately disappeared, but continued within a certain range and stage, or formed a new form of music, It not only had an important influence on the development of national music after Tang Dynasty, but also played a positive role in promoting the development of national music culture in neighboring countries of East Asia. In particular, the Japanese Ya Le and Korea's rural music. This paper mainly uses the research method of combining historiography and philology, taking the history as the main line, the literature historical data as the foundation, taking the origin and the evolution of the Tang Dynasty's Fa qu as the breakthrough point, explains its development vein. Explore the track of its history and culture, its causes and its impact. This thesis mainly includes three parts: the first part, the artistic origin of the French qu. On the basis of many expositions, the author systematically discusses "the Fa qu system originated from the Qing Dynasty and Shang Dynasty" by using the research methods of history and philology. The second part, the development of the Fa qu in the Tang Dynasty, the context of which was gradually attached importance to in the early Tang Dynasty, was a new kind of music formed by the Daoqu Buddhism and some foreign music (Hu Le) based on the re-amalgamation of the Qing Shang Dynasty and Shang Dynasty, the second part of which was the development of the Fa qu in the Tang Dynasty. In the prosperous Tang Dynasty, the French music was in a state of full prosperity. After the Anshi Rebellion, the French music gradually declined. It also discussed the style characteristics of the French music, the structure of the French music, the changes of the dance and the accompaniment of musical instruments, and the position of the French music in the Yan music and dance of the Tang Dynasty. The third part is about the remains and distribution of the legends in the Tang Dynasty and in Japan, Korea and other countries.
【学位授予单位】：武汉音乐学院
【学位级别】：硕士
【学位授予年份】：2006
【分类号】：J609.2

【引证文献】