隋唐宫廷音乐表演研究

发布时间：2018-05-04 17:59

  本文选题：隋唐 + 宫廷音乐　； 参考：《南京艺术学院》2016年博士论文

【摘要】：在历史发展的长河中,繁若星河的中国表演艺术家以其璀璨光彩的艺术创造为世人瞩目。历经千锤百炼,中国音乐艺术以其精湛的表演、崇高的审美情趣、伟大的艺术精神和独特的理论体系在世界乐坛独树一帜。在“寻根问祖”、“文化认同”以及“文化自觉”等思想理念指导下,本文通过历史文献、考古文物以及民俗调查等多方面的材料较为全面的展示我国隋唐时期博大精深的音乐表演艺术,以期增强国人感知、认知以及正确评价和创意发展中国传统音乐文化的使命感、责任感。全文由四个部分,六个章节组成。第一部分(序论),主要对选题目的与意义以及有关隋唐宫廷音乐研究的学术前史进行宏观论述。第二部分(第一、二、三章),主要对隋唐雅乐表演进行重点考量。隋唐统治者遵循先代帝王“考寻古典”、“详定雅乐”之传统,并最终在用乐场合、表演仪程、乐悬陈设、乐律宫调、文武二舞编创、乐工舞队人数、礼乐服饰装扮、乐曲旋律及其歌词创制等诸多方面,形成了一套相对稳定与规范的仪式音乐表演体系,既体现对天、地、人祖的尊崇与敬畏,又无时无刻不体现出皇权至上的无限荣光。纵观祭祀天、地、人祖大典的行进过程,娱神表演的雅乐歌舞乃是仪式大典中最为重要的内容。从最初的降(迎)神,一直到最后全部仪式结束的送神,雅乐歌舞表演如影随行,以此表达人们对天地孕育生灵、哺乳滋润万物以及人祖建功立业、繁衍后代的感恩之情。隋唐宫廷雅乐不仅是三代礼乐的继承和发展,更是远古先民生殖崇拜祭祀歌舞的延续和“新生”。第三部分(第四、五、六章),重点考察了隋唐娱乐达欢的宴乐表演。伴随汉魏六朝第二次民族大融合的深入发展,胡乐入主中原。面对新的文化发展态势,隋唐统治者采取了兼容并蓄、多元发展的有效策略,并先后建立了“多部乐”、“二部伎”等形态的宴乐表演体制。与此同时,杂以胡夷之伎的百戏、俳优“你方唱罢我登场”,可谓异彩纷呈,热闹非凡!隋唐文化南北交融、胡汉交汇,在这文化交叉融合的过程中,中国古代音乐文化得到迅猛发展,极为显著的特征就是隋唐宴乐歌舞表演艺术的高度繁荣。如此丰富的音乐艺术品种不仅是华夏各民族生命力和创造力的高度体现,也是中国古代音乐文化“多样性”的生动展示。第四部分(结语),是对全文研究内容的归纳、评论与升华,并在此基础上提出:当前中国音乐表演艺术发展要在“适度”发挥音乐娱乐功能的同时,更要关注音乐的伦理、道德之教化功能,尤其重视古人利用仪式音乐表演达到“敬天”、“崇地”、“尊祖”以及“尊师重道”之传统。歌诗歌诗,何者为“诗”?笔者认为,歌诗就是在桑台、庙宇前向神灵祈福时歌唱咏诗。因此,古代礼乐表演最初都或多或少带有“神性”,而目前中国音乐表演艺术的“神性”已基本消失殆尽。
[Abstract]:In the long history of development, the numerous Chinese performing artists for their brilliant artistic creation for the attention of the world. Chinese music art is unique in the world with its exquisite performance, lofty aesthetic taste, great artistic spirit and unique theoretical system. Guided by the ideas of "seeking roots and asking ancestors", "cultural identity" and "cultural consciousness", this paper adopts historical documents. Archaeological relics and folklore investigation and other materials comprehensively display the broad and profound music performing arts of the Sui and Tang dynasties, in order to enhance the people's perception, cognition, correct evaluation and creative development of the sense of mission of Chinese traditional music culture. A sense of responsibility. The full text consists of four parts and six chapters. The first part mainly discusses the purpose and significance of the topic and the preacademic history of the study of court music in the Sui and Tang dynasties. The second part (the first, second, three chapters, mainly on Sui and Tang Dynasty Ya Yue performance focus. The rulers of the Sui and Tang dynasties followed the tradition of "searching for Classical" and "setting up elegant Music" in the early dynasties. Finally, they performed on the occasion of music, performing instrument Cheng, music hanging furnishings, music law and palace tune, compiling and creating two dances, the number of musicians and dancers, and the dress costumes of etiquette and music. Music melody and its lyrics have formed a set of relatively stable and standardized ritual music performance system, which not only embodies the reverence and awe of heaven, earth and ancestors, but also reflects the boundless glory of the supremacy of imperial power all the time. Throughout the procession of sacrifice to heaven, earth and ancestors, the most important part of the ceremony is to entertain the music and dance performed by the gods. From the beginning to the end of the ceremony, the performance of music, song and dance is accompanied by the shadow, which expresses people's gratitude to heaven and earth for gestating life, suckling and nourishing all things, and creating meritorious service for the ancestors, and to multiply the future generations. Sui and Tang court elegant music is not only the inheritance and development of three generations of ritual music, but also the continuation and "new life" of ancient ancestors' reproductive worship, sacrifice, song and dance. The third part (the fourth, fifth and sixth chapters), focuses on the entertainment of the Sui and Tang dynasties. With the further development of the second national integration in the Han, Wei and six dynasties, Hu Le entered the Central Plains. In the face of the new cultural development situation, the rulers of Sui and Tang dynasties adopted an effective strategy of all-embracing and pluralistic development, and successively established the "multi-part music", "two plays" and other forms of banquet performance system. At the same time, mixed with Hu Yi of a hundred drama, Paiyou "you sing me on the stage", it can be described as colorful, particularly lively!!! The culture of Sui and Tang dynasties intermingled with the north and south and the Hu and Han dynasties. In the process of the culture crossing and merging, the Chinese ancient music culture developed rapidly, and the extremely remarkable characteristic was the high prosperity of the performing arts of the Sui and Tang dynasties' banquets, songs and dances. Such a rich variety of music art is not only a high embodiment of the vitality and creativity of all ethnic groups in China, but also a vivid display of the "diversity" of ancient Chinese music culture. The fourth part (conclusion) is the summarization, comment and sublimation of the research contents of the full text. On the basis of this, the author points out that the current development of Chinese music performing arts should give full play to the function of music entertainment and pay more attention to the ethics of music at the same time. The function of morality, especially paying attention to the tradition of "respecting heaven", "worshiping earth", "respecting ancestors" and "respecting teachers" by the ancients. Song poetry poetry, what is "poetry"? The author believes that song poetry is singing poetry in Sangtai, the temple to pray for the gods. Therefore, the ancient performance of ritual and music had more or less "divinity" at first, but now the "divinity" of Chinese music performing art has basically disappeared.
【学位授予单位】：南京艺术学院
【学位级别】：博士
【学位授予年份】：2016
【分类号】：J609.2
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本文编号：1844015