【作者】 刘洋；

【导师】 秦序；

【作者基本信息】 中国艺术研究院 ， 音乐学， 2008， 博士

【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、讌乐及文康乐、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、讌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。更多还原

【Abstract】 Tang Dynasty was the hemera of artistic development of the China ancient dance accompanied by music. The palace music and dance that flowers blooming like a piece of brocade, and it have represented the supreme level that art of dance accompanied by music reached at that time.Tang Dynasty was the artistic summit period for development of ancient instrumental music of our country too. The scale of Palace band is large, the kind of Palace band is numerous, and talented musicians are coming forth in multitudes. Succeed in song and dance art that set off by contrast, grow prosperity accompany it, not merely, undertake various huge palace offer sacrifices to, until can dinner enjoy, go out flags, weapons, etc. carried by a guard of honor gift musical activity use the musical task, cultivate and develop a lot of independent instrumental music tutties, solo forms even while being one’s own, for example," emperor’s theatre disciple " has appeared So huge a music orchestra, specially play the law song that profound Emperor Zong loved. Bright Tang Dynasty palace instrumental music art, perform for colourful representative Tang art it adds to be incomparably dazzling glory, have written the magnificent chapter thickly and heavily in colours in the history of Chinese instrumental music too.Thesis this substitute with Tang palace of different various kinds of bands musical instrument dispose, musical instrument make up for the research object. Strive to make and comb and examine and correct the historical data, different musical instruments association used toward various bands in terms of microcosmic more comprehensively and systematically, make a careful and detailed analysis, compare in detail, do in the test and distinguish the concrete associations of all kinds of bands of the palace of Tang Dynasty and allocate the form. And then explore it forms condition, transmutation course and social influence,etc, in order to announce them to Tang Dynasty the instrumental music, art of song and dance prospered the impetus played in appearance of the situation overallly.The musical instrument is the materials carriers of the music, the composition of the orchestra is that the most direct materialization of the music reflects, this text think criteria for classification to substitute with Tang music come, divide it composition of the orchestra kind that palace spend, it is comparatively rational. Consider the palace, have under its command and make the administration music too, advertise very much administration and theatre exist with teaching objective history of organizations of huge dance accompanied by music such as the workshop,etc. often, so this text regards corresponding organization as and passes, regard music property as latitudes. The text content divides the following chapter five:Chapter one " Study on the musical composition of Zheng Yue in Tang Dynasty ". At that time," Zheng Yue " included Ya Yue, Zuo Buji, Li Buji, Yan Yue, Wen Kang Yue, Qing Yue, Xi Liang Yue. The issues, Such as various bands last form specifically, musical instrument dispose, arrange and so on, are stated separately in the test.Chapter two " Study on the musical composition of Four Yi Yue orchestra in Tang Dynasty ". The context of this chaper include the form of the orchestra music of the east, the south, the west. Study on nine and ten Buji of Tang Dynasty, except Qing Yue, Xi Liang Yue, Yan Yue, Wen Kang Yue. Section one " The compositions of the orchestra of the Western Regions " , stated separately the band of Qiu Ci Yue, Tian Zhu Yue, Shu Le Yue, An Guo Yue, Kang Guo Yue, Gao Chang Yue. Section two " The compositions of the orchestra of the Southern Regions " , study on the band of Nan Zhao Yue, Biao Guo Yue, Fu Nan Yue. Section three " The compositions of the orchestra of the Estern and Northern Regions " stated separately the band of Gao Li Yue, Bai Ji Yue. Because the recording and narrate less about bands’ form of Northern regions in the palace in relevant Tang Dynasty, so not to discuss in detail.Chapter three " Study on the musical composition of Gu Chui Yue orchestra in Tang Dynasty ". Section one advertise to Tang Dynasty five major category every musical instrument allocate the question specifically, do in the test and state in detail; Examine and correct in Tang Dynasty and advocate questions such as 12 tables of disposing, mode of combination of band of musical instruments,etc. in section two. Put the association form of advocating the band different from analyzing different grades in the steamed book of Tang Dynasty in order in section three. Section four study on different bands of Gu Chui Yue, which were used in the other occasions of Tang Dynasty’s palace, such as military salute Gu Chui Yue, big Nuo, shut, He Shuo Fa Gu, Wan Ge and so on.Chapter four " The other forms of composition of the orchestra of the palace of Tang Dynasty ". Chapter this section one and section two test, study on bands of Li Yuan, Jiao Fang. Li Yuan is specially played "Fa Qu" Palace music organization,it have one piece music orchestra that is huge. Jiao Fang perform the so-called folk music song and dance specially. Music organization which they all set up except making the administration music very much separately when being Emperor Xuanzong of Tang Dynasty. Do in the test and distinguish in playing the form of composition of the orchestra of the law song in section one. Section two " The form of composition of the orchestra of the palace of Tang Dynasty ",Probe into, play acrobatics, song and dance play with, Pai excellent folk music of playing with etc. for to teach workshop composition of the orchestra form main fact mainly. In addition, the solo is the unique association that the single musical instrument forms. The imperial banquet was enjoyed in Tang Dynasty " music that Israel department presents with respect" Play form,it different from " present with respect music by on the Song Dynasty ",So Tang Dynasty musical instrument solo of palace, form flexible, occasion indefinite, towards know ceremony also often appear outside the activity. So the musical instrument solo form in which this text presents the palace, investigate the content as this seal of section three.Conclusion part, survey every chapter studies incomes, further investigate the development changes orbit that the musical instrument was made up of Tang Dynasty. Point out it under the background of fact that Chinese and foreign culture was exchanged greatly in Tang Dynasty, Ya, Hu, Su music are merged gradually, exchange and absorb each other, has accelerated development and change that the musical instrument makes up. Especially in 754, Emperor Xuanzong of Tang Dynasty combined Dao Diao with Fa Qu, Indicate of all nationalities instrumental music unprecedentedly loud to merge in palace, influence development transmutation that musical instrument make up deeply even more. On the other hand, music for the enormous transition taking local opera music as representatives’ historical stage afterwards to Song Dynasty of musical stage of skill of representatives’ the middle ancient times by the song and dance in the music history, transmutation that Tang palace instrumental music made up late while accelerating too. The changes that the musical instrument makes up, since era influence the need of making artistic development, have promote the changes of the music and dance effectively too, has accelerated the appearance of the new artistic peak.更多还原