南北朝至初唐胡乐入华初探

发布时间：2019-07-04 07:55

【摘要】：南北朝到盛唐所取得的艺术成就举世公认。其艺术成就如此辉煌,多与文化交流有关。从魏晋南北朝开始,胡乐大规模进入中原,逐步影响与改变了社会各个阶层的审美趣味;隋唐时期,形成了以中原文化为基础,东西-南北的“十字型”文化交流态势,为唐代音乐的吸收、融合、创新发展奠定了坚实的基础。唐代音乐艺术成就能够达到高峰,其经历了吸收、融合、创新三个阶段,其中关于吸收这一阶段的研究,具有重要的学术意义,因为它是研究后两个阶段的基础。前人在此方面的研究上已经取得了丰硕的成果,如杨荫浏、岸边成雄等,但是,其间也存在尚需继续讨论的话题,如胡乐入华的史实与实际影响的考证,关于胡乐吸收的实践原则与艺术观念研究等。鉴于此,笔者希望在仔细研读大量史料的基础上,试图深入探究华夏接受胡乐的实践规律与指导理念。并以史为鉴,提示初唐对待外来音乐的宝贵经验,为新时代中华民族处理本国与外来文化的关系提供思路和方法借鉴。故本文从隋胡乐之传入、初唐对胡乐的兼收并蓄、初唐兼收并蓄胡乐中“和”理念的实践进行论述。本文首先考察了南北朝至隋朝时期的胡乐进入中华的情况,主要对胡乐的乐种、胡乐艺人、胡乐作品和乐器等做出了源流方面的梳理,同时提示了各个朝代宫廷对胡乐的态度与使用,将之作为考察初唐接受和摆置胡乐的事实基础。接下来,本文详细考察了初唐时期雅乐、燕乐吸收胡乐的史实,通过梳理初唐对胡乐乐种、乐律的摆置、分析胡乐艺术本体特征以及考察胡乐器的改良等,提示初唐是如何吸收胡乐的。最后,在考察史实的基础上,本文提示了这一历史时期吸收胡乐的实践规律与实践态度和理念,并认为,“和”之理念,作为吸收胡乐的指导原则,将胡乐摆置入一个尊卑有序的秩序里,在这一秩序中,胡乐的精华被吸收,这虽丰富了艺术创新手段和审美情趣,但并不与华夏文化的传统相冲突。
[Abstract]:The artistic achievements made from the Southern and Northern dynasties to the prosperous Tang Dynasty were recognized all over the world. Its artistic achievements are so brilliant that they are mostly related to cultural exchanges. Since the Wei, Jin and Southern and Northern dynasties, Hu Le entered the Central Plains on a large scale, gradually affecting and changing the aesthetic taste of all strata of society. During the Sui and Tang dynasties, the "cross" cultural exchange situation based on the Central Plains culture, east-south and north-south, laid a solid foundation for the absorption, integration, innovation and development of Tang Dynasty music. The achievements of music art in Tang Dynasty can reach the peak, which has gone through three stages: absorption, fusion and innovation. Among them, the research on absorption is of great academic significance, because it is the basis of the last two stages of the study. Previous studies in this field have made fruitful achievements, such as Yang Yinliu, Riverside Chengxiong and so on. However, there are also topics that need to be discussed, such as the textual research on the historical facts and actual influence of Hu Le's entry into China, the study of practical principles and artistic concepts absorbed by Hu Le, and so on. In view of this, the author hopes to explore the practical law and guiding idea of Huaxia's acceptance of Hu Le on the basis of careful study of a large number of historical materials. Taking history as a mirror, this paper suggests that the valuable experience of the early Tang Dynasty in dealing with foreign music provides ideas and methods for the Chinese nation to deal with the relationship between the country and foreign culture in the new era. Therefore, this paper discusses the practice of integrating Hu Le into Hu Le in the early Tang Dynasty and the concept of "he" in the early Tang Dynasty from the introduction of Sui and Hu Le. This paper first investigates the entry of Hu Le into China from the Southern and Northern dynasties to the Sui Dynasty, mainly combs the origin of Hu Le's music, Hu Le artists, Hu Le's works and musical instruments, and at the same time suggests the attitude and use of each dynasty to Hu Le as the factual basis for investigating the acceptance and placement of Hu Le in the early Tang Dynasty. Next, this paper investigates in detail the historical facts of Hu Le absorbed by Ya Le and Yan Le in the early Tang Dynasty, and through combing the arrangement of Hu Le music species and music laws in the early Tang Dynasty, analyzes the characteristics of Hu Le's art Noumenon and examines the improvement of Hu Musical Instruments, etc., and suggests how Hu Le was absorbed in the early Tang Dynasty. Finally, on the basis of investigating the historical facts, this paper suggests the practical law and practical attitude and idea of absorbing Hu Le in this historical period, and holds that the idea of "harmony", as the guiding principle of absorbing Hu Le, places Hu Le in an order of inferiority and order, in which the essence of Hu Le is absorbed, which enriches the means of artistic innovation and aesthetic taste, but does not conflict with the tradition of Chinese culture.
【学位授予单位】：山西大学
【学位级别】：硕士
【学位授予年份】：2017
【分类号】：J609.2

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