两唐书乐志研究

【作者】 孙晓晖；

【导师】 王小盾；

【作者基本信息】 扬州大学 ， 中国古代文学， 2001， 博士

【摘要】 学位论文《两唐书乐志研究》是在《两唐书乐志校释》的基础上进行的，是导师中国音乐文献学学科建设计划的组成部分。本论文分为上下两篇：上篇《两唐书乐志的史料来源》，下篇《唐代礼乐制度研究》。全文对唐代雅乐文献及制度沿革进行了全面的梳理和描述。具体内容如下： 上篇《两唐书乐志的史料来源》，探讨了唐国史音乐志、《旧唐书·音乐志》到《新唐书·礼乐志》的编纂过程和史料关系。其主要学术观点是： (一)旧说据《五代会要》所载後晋史官云“唐高祖至代宗已有纪传”，以为唐国史止於代宗，唐国史最後定本是柳芳续成的一百三十卷本。本文通过考证唐史馆的编纂体例、研究《旧唐书》的叙事文本以及考察历代《旧唐书》的版本叙录和校勘记，认为唐国史的修撰一直延续到宣宗大中年间。又据《太平御览》徵引《唐书》之文本，比续《旧唐书》诸志，认为唐国史有十二志，其国史音乐志的主体部分是韦述国史音乐志。这一结果发展了史学界对纪传体唐国史之志的研究。 (二)《旧唐书·音乐志》的史料来源是唐国史音乐志。《旧唐书·音乐志》的主体部分是韦述国史音乐志。韦述国史音乐志所述唐朝前期音乐是在刘贶《太乐令壁记》的基础上采录实录、礼乐诏令奏议而成的。开元後至宣宗朝的的音乐内容是後代国史修撰者据各朝实录补缀而成。唐末昭宗朝乐悬的记录则由後晋史官据昭宗朝论乐奏折补加。故《旧唐书·音乐志》的成书过程如圖所示：《太乐令壁记》→韦述国史音乐志→开元後史官補缀国史音乐志→後晋《旧唐书·音乐志》。 (三)通过研究仁宗时制礼作乐的时代背景和欧阳修的礼乐观，考察了宋仁宗时期重修《新唐书·礼乐志》的目的和意义。《新志》重视典章制度，其编撰目的是仁宗时制礼作乐之“急用”。相对於《旧唐书·音乐志》，《新唐书·礼乐志》阐明了祖孝孙八十四调宫调体系的原理，记录了俗乐二十八调，指出银字(倍四、中管)作为准器的重要性。此外，《新唐书·礼乐志》还补充记录了道教音乐、云韶乐等音乐品种以及开元後的宫廷音乐。故本文对《新唐书·礼乐志》史料来源的发掘，主要依靠为前辈学者称为“史余”的那一部分史料。对《新志》较《旧志》所增加史料的发现，是认识《新志》史识的关键”。《新唐书·礼乐志》对唐代雅乐、俗乐乐律的认识得益於徐景安《乐书》，对於德宗朝至宣宗朝音乐记录的增补，多采唐人笔记小说。 本文对《两唐书乐志》史料来源的揭示，实际上展示了从唐玄宗开元初至北宋仁宗嘉佑年间近四百年的乐志形成过程。这一过程同时是唐代音乐从被记录到被重新认识的过程。 下篇《唐代礼乐制度研究》，对隋唐礼乐制度的建设及其沿革作出了客观的描述。共分四章： 第一章描述了唐代雅乐建设的全过程。本章将唐代雅乐置於魏晋南北朝、隋唐五代通一畏峙段的音梁登展背景之中，封唐代雅梁各陪段巡行了重黔的考察。本章重默通遇南北朝梁工的流勤和家法颤承封音梁傅承的影馨，阴明了祖孝孤旋宫梁的来脸，捉而榷立了初唐雅梁在音梁史上的举榷座漂。徒家法和师承分析音梁傅承，是音梁鬃方法的有益探对。 唐代雅梁登展有著各陪段的峙代特黯。初唐雅梁是唐代雅柴的建毅峙期，祖孝探的(十二和)是用放徽式的雅柴系列曲目，其梁稠除祀昊天上帝、祭地祖和享太潮三项有明榷的规定之外，其除栗稠皆随月定均。强文收依《周覆》之制，在祖孝探旋宫梁的基礴上，将雅梁各植徽式的所用梁稠固定下来。唐代雅梁的宫稠模式，皆沿襄强文收所定制。高宗朝雅梁大事乃以《神功破阵梁》、《功成魔善梁》和《上元梁》三大舞入雅梁。而武HlJ天朝的雅梁定制焉服史上揭一熬二之攀，其表现焉重砚隐祀，雅梁律吕颠倒，业重改《十二和》之名。 玄宗朋元峙雅柴腮名焉《大唐梁》，是以朋元十三年的封禅祭天地梁章加上玄宗峙太廊九室梁舞而成。《大唐梁》是唐代雅梁癸展的最高峰，朋元之俊的覆梁皆举阴元之制。玄宗天育年简，雅梁呈现道教化的登展超势，其漂袜是新的祭祀俄式的出现一一享玄元皇帝太清宫、祀九宫食神、享能池梁，皆是玄宗朝以老子焉文化祖先，重视道教的表琪。玄宗朝的“享太清宫一享太潮一南郊”成焉阴元俊祭祀的模式。道一模式貌明天宵以俊雅梁的主艘成份是祀昊天案、享太潮梁舞和崇祀道教的梁舞。 德宗朝的雅梁中典，重祝祀九宫贵神、祀夙颇雨颇、享武成王潮，此顺梁章随之磨莲而生。德宗朝雅梁的中具，又促使燕梁的繁柴，遏地献梁蓬到高潮。文宗朝雅梁，其表现焉封霎韶梁的重祝。至唐末黄巢之氰，政治的衰亡使唐代雅梁随之衰欺。糖之，唐代雅梁登展各陪段皆有其峙代特微。唐末殷盈孤依《周覆》研制梁怒，焉唐代雅梁史割上了句统。 第二章通遇考察唐太常寺八署四院官制的滕能，貌明祭祀音梁是唐代覆梁制度的核心内容。封太常梁部、太常梁章以及太常直官制度的考察，宵隙上是封唐代音梁精横和太常莲作概制的考察。本章研究太常音梁制度的目的，旨在通遏制度桔横研究音梁拮楷。 第三章、第四章考察吉、寰、嘉、罩、凶五梗柴曦，旨在徒覆制背景下韶藏唐代雅案更多还原

【Abstract】 The thesis is divided into two parts: the first volume is the historical origin of The two Tang History Records of Music, and the last of two volumes is A Study of The Tang Ceremonial and Musical System during the Tang Dynasty. The author provided us with a comprehensive collation and description of documents and systematic evolution belonging to Elegantiae music. The contents of the paper are as follows:In the first volume, the author discusses the process of compilation and the relations of historical data from the Tangguoshiyinyue zhi (唐国史音乐志), the Jiutangshuyinyue zhi (旧唐书音乐志) to the Xingtangshu liyue zhi (新唐书礼乐志) .(1)The author proposes that Tangguoshi has twelve records, and its principal part is the Tangguoshi yinyue zhi written by Wei Shu (韦述), which makes up for a loss of academic study on biographical Tangguoshi.(2)The historical data of the Jiutangshu yinyue zhi teemed from the Tangguoshi yinyue zhi that contains early Tang music by Wei Shu was accomplished by the way of gathering actual records, the memorial to an emperor on music and rites, on the basis of Taiyuelingbiji (太乐令壁记) , by Liu Kuang (刘眖) . And the musical contents from the year of late kaiyuan (开元) to Xuan-zong (宣宗) of the Tang Dynasty were added by later revisers according to the veritable records part of the previous dynasties. And records of yuexuan (乐悬) in the Zhao-zong (昭宗) of Later Tang Dynasty were supplemented by official historian during the Later Jin Dynasty in accordance with musical memorial to the emperor of Zhao-zong. The process of Jiutangshu yinyue zhi are as follows: Taiyuelingbiji→Guoshi yinyue zhi by Wei Shu→Guoshi yinyue zhi by officical historian after the years of Kaiyuan→ Jiutangshu yinyue zhi emerged in the Later Jin Dynasty.(3)Through a study of background of the times during the Ren-zong (仁宗) and Ou Yangxiu’s (欧阳修) idea of music and rites, the author makes an examination of the recompiling purpose and meaning of the Xintangshi liyue zhi. Xintangshi liyue zhi attached importance to decrees and regulations, whose purpose of the compilation proceeded from urgent need in music and rites the Ren-zong attached to its rule. Not alike the Jiutangshi yinyue zhi, the Xintangshi liyue zhi makes a systematic exposition of the fundamental tenets of 84 modes by Zu Xiaosun (祖孝孙), which takes notes of the 28 tunes of popular music, and points out the supreme importance that takes yinzi( 银字) asthe criterion. In addition, the Jiutangshi liyue zhi has supplementary records including Taoist music, Yunshao (云韶) music and Royal court music after the years of Kaiyuan.The author shall see the discovery of the additional historical data as the crux of thehistorical sense. In the Xintangshi liyuezhi, the concept of the temperament of Elegantiaemusic and folk music during the Tang Dynasty benefits from musical book by Xu Jing-an(徐景安), and the additional musical records from De-zong (德宗) to Xuan-zong of theTang Dynasty chooses from literary sketches.The last of the two volumes, which is divided into four parts, is the objective investigation of the construction and evolution of musical and ritual systems.In the first chapter, the thesis involves with the overall progress of the construction of Tang elegant music. Relying on the progressive musical background from the Northern and Southern Dynasties to the Sui and Tang Dynasties and the Five Dynasties, the author makes an investigation of various stages of Tang elegant music, and expounds the source of Xuangongyue (旋宫乐) through the move of musicians during the Northern andSouthern Dynasties and domestic discipline’s impact on musical inheritance. Thus the precise place of elegant music during Early Tang was occupied in musical history.The second chapter brings to light the social functions and historical meaning of the Tang elegant music combined with ritual and musical materials. The author illustrates that music of sacrifices to ancestors is key contents of musical and rit更多还原