唐代宫廷乐器组合研究

发布时间：2018-07-20 11:03

【摘要】： 唐代是中国古代乐舞艺术发展的极盛时期,繁花似锦的宫廷音乐舞蹈,代表了当时乐舞艺术所达到的最高水平。唐代也是我国古代器乐艺术发展的颠峰时期。宫廷器乐规模宏大,乐器、乐种众多,人才辈出,不仅成功地烘托、伴奏其时繁盛的歌舞艺术,承担各种浩大的宫廷祭祀、朝会宴享、出行仪仗等礼乐活动之用乐任务,自身还培育发展出许多独立的器乐合奏、独奏形式,例如,出现了“皇帝梨园弟子”这样庞大的丝竹乐团,专门演奏玄宗皇帝酷爱之法曲。璀璨的唐代宫廷器乐艺术,为多姿多彩的唐代表演艺术增添了无比耀眼的光辉,也在中国器乐史上浓墨重彩地书写了灿烂篇章。本论文以唐代宫廷各种各样的乐队的乐器配置、乐器组合为研究对象。力求较为全面、系统地梳理考订史料,从微观角度对各种乐队所运用的不同乐器组合,条分缕析,详加比较,考辨唐代宫廷各类乐队的具体组合及编配形式。进而探索其形成条件、嬗变历程以及社会影响等等,以揭示它们对唐代器乐、歌舞艺术的全面繁荣局面的出现所起的推动作用。乐器是音乐的物质载体,乐队组合是音乐最直接的物化体现之一,本文认为以唐代音乐的分类标准来划分宫廷所用之乐队组合种类,较为合理。考虑到宫廷、太常下辖太乐署、鼓吹署以及梨园与教坊等庞大乐舞机构的客观历史存在,故本文以相应机构为经,以音乐性质为纬。正文内容分见下列五章: 第一章“唐代正乐之乐队组合研究”,主要对当时“正乐”所包括的雅乐、坐立二部伎、媽乐及文康乐、清乐、西凉乐的各种乐队具体组合形式、乐器配置、乐队排列等问题分别加以考述。第二章“唐代四夷乐之乐队组合研究”,以包括东夷、南蛮、西戎、北狄之乐的“四夷乐”乐队组合形式为研究对象。梳理、考辨唐九、十部乐除清乐、西凉乐、媽乐及文康乐以外其余乐部的乐器组合形式。第一节“西域之乐队组合”,分别考察龟兹乐、天竺乐、疏勒乐、安国乐、康国乐、高昌乐的乐队组合形式。第二节“南蛮之乐队组合”,主要梳理南诏乐、骠国乐、扶南乐的乐队组合形式。第三节“东夷系及北狄系乐队形式”主要对高丽乐、百济乐的乐队组合形式加以梳理。因有关唐代宫廷之中北狄乐乐队形式的记述较少,故未对其详加探讨。第三章“唐代宫廷鼓吹乐之乐队组合研究”。第一节对唐代鼓吹乐五大部类各部中乐器的具体编配问题,详加考述;第二节考订唐代鼓吹十二案的乐器配置、乐队组合方式等问题。第三节整理与分析唐代卤簿中不同等级不同鼓吹乐队的组合形式。第四节梳理、考证唐代宫廷其他场合所用鼓吹乐队及其组合形式,如凯乐、行军鼓吹乐及军礼鼓吹乐,以及大傩、合朔伐鼓、夜警晨严、挽歌等不同鼓吹形式。第四章“唐代宫廷其他乐器组合形式”。本章第一节和第二节考辨梨园、教坊等机构的乐器组合形式。梨园是专门演奏“法曲”的宫廷音乐机构,具有一支庞大的丝竹管弦乐团。教坊则专演所谓的俗乐歌舞。它们都是唐玄宗时在太乐署之外另设的音乐机构。第一节便是对演奏法曲的乐队组合形式加以考辨。第二节“唐代散乐之乐队组合”,主要探讨演奏百戏、歌舞戏、俳优戏等俗乐为主的教坊乐队组合形式。此外,独奏是单件乐器构成的独特组合。唐代宫廷宴享“以部奉乐”的演奏形式,不同于宋代“以盏奉乐”,所以,唐代宫廷中的乐器独奏,形式灵活,场合不定,朝会仪式活动外亦常出现。故本文将宫廷出现的乐器独奏形式,作为本章第三节考察内容。第五章结语部分,综述各章研究所得,进一步考察唐代乐器组合的发展变迁轨迹。指出在唐代中外文化大交流的背景下,雅、胡、俗乐逐渐融汇,相互交流吸收,加速了乐器组合的发展变化。特别是天宝十三载玄宗大力推行的胡部新声与道调法曲“合作”,更标志着各族器乐在宫廷的空前大融合,深刻影响乐器组合的发展嬗变。另一方面,音乐史上由歌舞乐为代表的中古伎乐阶段向宋以后以戏曲音乐为代表的历史阶段的巨大转型,也加速了中晚唐宫廷器乐组合的嬗变。乐器组合的变迁,既是时代影响下艺术发展的需要,也有力地促进了音乐歌舞的变迁,加速了新的艺术高峰的出现。
[Abstract]:The Tang Dynasty was the peak period of the development of Chinese ancient music and dance, and the flourishing palace music and dance represented the highest level of music and dance at that time.
The Tang Dynasty was also the peak period of the development of ancient instrumental music in China. The palace instrumental music was large in scale, musical instruments, many kinds of music, many talented people, not only successful, accompanied by the flourishing art of singing and dancing, taking on a variety of great palace sacrifices, enjoying the banquet, traveling, and other ceremonial activities, but also cultivating and developing a lot of independence. The instrumental ensemble, solo form, such as the appearance of the huge bamboo and bamboo Orchestra of the emperor's Pear Garden disciples, specially played the music of the Emperor Xuanzong. The brilliant Tang Dynasty palace instrumental art added to the colorful and colorful performing art of the Tang Dynasty, and wrote a brilliant chapter in the history of Chinese instrumental music.
In this paper, the instrument configuration and musical instrument combination of all kinds of court bands in the Tang Dynasty are taken as the research object. The formation conditions, evolution process and social influence, etc., are to reveal their driving effect on the emergence of the overall prosperity of instrumental music and song and dance art in the Tang Dynasty.
The musical instrument is the material carrier of music, and the band combination is one of the most direct materialization of music. This article holds that it is more reasonable to classify the band combination of the court by the classification standard of the Tang Dynasty. The text is divided into the following five chapters.
The first chapter, "the study of the band combination of the Tang Dynasty," is mainly about the musical composition of the band, including the Yale, the two Kabuki, mama music and Kangle, the music, the Western cool music, the arrangement of musical instruments, the arrangement of the band and so on.
The second chapter, "the study of the band combination of the four Yi music in the Tang Dynasty", took the combination form of the "four Yi" bands, including Dongyi, Nan man, Xion, and North Di's music as the research object. To comb, examine and distinguish between the Tang nine, the ten music division music, the Western cool music, the Mama music and the Kangle's Yu Yue Department, the first section of "the band combination of the western regions", respectively. Kamkkasa, Tianzhu music, Shule music, an Guo Le, Kang Guo Le, high Changle band combination form. The second section "the band combination of South man", mainly combing the band combination of Nanzhao music, puma national music and Fu Nan music. The third section of "Dongyi department and the North Department band form" mainly combed the form of the band of Gao Li le and Baiji music. There are few records about the North Di band in the Tang Dynasty, so it has not been discussed in detail.
The third chapter, "the study of the band combination of the court music in the Tang Dynasty". The first section of the Tang Dynasty, the five parts of the musical instruments of the specific arrangement of the Ministry of music, the second section of the Tang Dynasty to test the twelve cases of the musical instrument configuration, band combination and other issues. The third section collated and analyzed the Tang Dynasty halogen books in different grades and different percussion bands Combination form. The fourth section combed, textual research on the other occasions in the palace of the court and its combination forms, such as Keller, marching music and military ritual music, as well as big Nuo, Shuo felling drum, night alarm morning, Elegy and other different forms of advocacy.
The fourth chapter, "the combination of other instruments in the court of the Tang Dynasty". The first and second sections of this chapter examine the musical instruments of the pear orchard and the church and other institutions. The pear garden is a court music institution that specializes in "French music". It has a huge Orchestra of the silk string. The square is specially designed for the so-called pop music and dance. All of them are in the Tai Le Department at Tang Xuanzong's time. The first section of the music organization. The first section is to examine the band combination of the music music. The second section, "the band combination of the Tang Dynasty," mainly discusses the combination of popular music, such as playing hundred plays, singing and dancing, haiku and so on. In addition, the solo is a unique combination of single piece music. The playing form of the Song Dynasty is different from the Song Dynasty, so the musical instrument solo in the court of the Tang Dynasty is flexible, the occasion is indeterminate, and the ceremonial activities of the Dynasty often appear. Therefore, this article will take the form of musical instruments appearing in the court as the content of the third section of this chapter.
The fifth chapter is the concluding part, which summarizes the study of each chapter and further examines the development and changes of the musical instruments in the Tang Dynasty. It points out that in the context of the great cultural exchange between China and foreign countries, elegance, Hu, and folk music gradually merged, exchanged and absorbed each other, and accelerated the development and changes of the musical instrument combination. The "cooperation" of the tune music symbolizes the unprecedented integration of all ethnic instrumental music in the court, which profoundly affects the development and evolution of the musical instrument combination. On the other hand, the great transformation of the middle ancient Kabuki stage, represented by the music and dance music as the representative of the song and dance music in the history of music, has also accelerated the evolution of the palace instrumental music combination in the middle and late Tang Dynasty. The change of musical instruments is not only the need of the development of art under the influence of the times, but also the change of music and dance, and accelerates the emergence of new artistic peak.
【学位授予单位】：中国艺术研究院
【学位级别】：博士
【学位授予年份】：2008
【分类号】：J609.2

【引证文献】