《苏幕遮》研究

发布时间：2018-04-29 02:07

本文选题：苏幕遮 + 音乐　；参考：《河北师范大学》2013年硕士论文

【摘要】：“苏幕遮”一词非汉语，原意为一种帽子，后逐渐代指了“泼寒胡戏”，也可以代指配合“泼寒胡戏”所上演的歌舞戏，在北朝时期传入中原。《苏幕遮》不仅具有器乐演奏、舞蹈、歌唱形式，还有一定的戏剧成分，并与浑脱有着密切的关系。在唐代作为教坊曲和太乐署供奉曲，在天宝十三年出现了两种变曲《感皇恩》、《万宇清》。唐五代之后《苏幕遮》作为词调，，在宋金元明清词中仍然不绝。宋代的《苏幕遮》在内容上比唐五代时期有了一定的扩展，抒发个人的感伤情怀作品增多，并出现了《鬓云松》、《鬓云松令》等词牌形式。在金元时期内容上则主要为宣传全真教教义，被全真教道士更名为《云雾敛》。明清时期的《苏幕遮》词有所创新，出现了“堆絮体”这一写作手法。本文共分五章，力求从音乐、文学、文献三个层面入手，对《苏幕遮》综合研究。第一章考辩“泼寒胡戏”的起源地域，“泼寒胡戏”的起源地域主要有康国、龟兹两说，其所涉及的宗教也有一定的争议。它的起源涉及丝路一线的宗教和历史状况，本章将综合原始文献和现今学界的分析，探究起源。同时联系当时的政治形势和背景，探究“泼寒胡戏”在其盛行的顶点遭到禁断的深层原因。第二章主要探讨唐代《苏幕遮》的音乐形态，梳理其器乐演奏、音乐曲调、舞蹈形式，并分析《苏幕遮》和《浑脱》的关系。探讨《苏幕遮》天宝改名产生的三种曲调和变更曲名的原因，指出其音乐曲调和名称上的改变实际上反映的是胡汉观念和唐代宫廷宗教势力的改变。第三章分析宋代《苏幕遮》文辞和曲调，重点在其音乐形态和主题内容的新变和扩展。宋代《苏幕遮》的曲调与唐代有了区别。内容主题较唐代丰富，且不乏名家名作，对后世《苏幕遮》词的创作有一定的影响。并比较唐代《感皇恩》曲子和宋代《感皇恩》词二者的关系。第四章主要梳理《苏幕遮》在金元明清时期音乐形态及曲辞文本上的发展与流变。金元时期的全真教词人的创作和改造使《苏幕遮》词在写作手法和主题内容上都有了新变。在清代，《苏幕遮》词中出现了“堆絮体”的写作方法。在这一时期，除了词这一形式外，《苏幕遮》还作为一个曲牌出现在金院本诸宫调中。此部分将分别从词、曲两部分论述《苏幕遮》的传承流变情况。第五章主要对日本流传的《苏莫者》的唐代因素进行考辩。日本至今保存上演的《苏莫者》在形式上与我国唐代的《苏幕遮》有很大区别，但是依然可以看到其中的唐代因素。考证日本典籍中记载的《苏莫者》与唐代《苏幕遮》之间的渊源关系，以此来反窥唐代《苏幕遮》的音乐形态。本文拟以不同时代《苏幕遮》的形式特点为对象，从文学形式、音乐演化以及所涉及的宗教等方面入手，采取文献解读、比较分析、总结归纳等方法，力图对之做出较为细致的描述。梳理《苏幕遮》的横向上的文化传播和纵向上的音乐演变，分析音乐、宗教和政治与文学之间的互动和影响。
[Abstract]:In the period of Jin Yuan Dynasty , there were two kinds of poems , such as musical performance , dance , singing style , and some drama components .

In the first chapter , the origin of the " Prakhuhu play " is the origin region of the Han opera , and there are some disputes between the religion and history . The origin of it is related to the religious and historical conditions in the first line of the Silk Road . This chapter will synthesize the original literature and the analysis of the present academic circle and explore the origin . At the same time , contact the political situation and the background at the time , and explore the deep reason why the phenomenon of " splashing the cold Hu opera " is cut off in its popular vertex .

The second chapter mainly discusses the music form of the Tang Dynasty ' s opera , sorts out its instrumental music performance , music tune and dance form , and analyzes the relationship between the music tune and the change of the Tang Dynasty . It also points out that the change of the musical tune and the name reflects the change of Hu Han ' s idea and the religious influence of the palace in the Tang Dynasty .

The third chapter analyzes the poems and tunes of the Song Dynasty , focusing on the new change and extension of the musical form and the subject matter .

The fourth chapter mainly deals with the development and development of the musical form and the text of the poems during the Ming and Qing Dynasties . The creation and transformation of Quanzhen Taoist Ci in Jin Yuan Dynasty brought about a new change in the writing technique and the subject matter . In this period , besides the word this form , besides the word this form , besides the word this form , besides the word this form , the part of this part will discuss the inheritance and rheology of the curtain from the two parts of the Ci and Qu .

The fifth chapter is mainly about the Tang Dynasty factors of the Japanese circulation in the Tang Dynasty , but still can see the Tang Dynasty factor in the form of the Soviet Union of the Tang Dynasty , but still can see the Tang Dynasty factor .

This paper attempts to make a detailed description of the form , evolution of music as well as the religion involved in different times . This paper attempts to make a detailed description of the ways of literature interpretation , comparative analysis and summary and so on . Carding on the cultural communication and musical evolution in the transverse direction of the curtain , the interaction and influence between music , religion and politics and literature are analyzed .

【学位授予单位】：河北师范大学
【学位级别】：硕士
【学位授予年份】：2013
【分类号】：I207.23;J609.2

【参考文献】