【作者】 迟凤芝；

【导师】 赵维平；

【作者基本信息】 上海音乐学院 ， 音乐学， 2009， 博士

【摘要】 一年春秋两度,一种称为“释奠”的祭孔仪式至今仍在位于韩国首尔的成均馆内举行,在仪式的过程中,与其祭祀的仪式完美协调配合在一起的是庄严、雄伟的文庙雅乐。中国宋朝的大晟雅乐在高丽朝睿宗十一年(1115)进入朝鲜半岛之后,立刻融入到了宫廷音乐的体系当中,被应用在文庙、宗庙、圆丘、社稷等祭祀场合之中。十五世纪初,在世宗大王和音乐家朴堧的努力下,对雅乐进行了改革,文庙雅乐也经历了朝鲜化的过程,发生了一定程度的变化,但其实质没有离开过中国的原样,仍然为堂上登歌、堂下乐悬、文武佾舞的形式,祭祀乐和仪礼乐的性质没有改变,并且至今仍被演奏,这与对儒家思想的提倡与尊崇是分不开的。本文拟从历史文献的调查与现时朝鲜李家王朝传承雅乐的综合、通盘性考察,试图达到对朝鲜文庙雅乐的历史形成、传承变迁,文化成因以及朝鲜半岛从古至今对中国雅乐文化的受纳态度等的全面分析和认知。主要分为七章来论述:一,朝鲜半岛雅乐的起源;二,高丽朝的文庙雅乐;三,朝鲜朝世宗代的雅乐整备与改革;四,文庙雅乐谱;五,文庙雅乐的登歌、乐悬和佾舞;六,文庙雅乐器;七,“万变不离其宗”的文庙雅乐。本论文采用历史音乐学的文献考证与分析方法,以朝鲜的高丽朝、朝鲜朝和现代为主要时限,对中国和朝鲜古代的汉语原典文献进行仔细研读,采用对比的方法,对朝鲜的文庙雅乐在乐谱、乐器、乐队编制、乐律制度等方面进行全面的研究,以中国人的视角将其重新审视,来看朝鲜的文庙雅乐与中国雅乐的关系,希望能够澄清中国雅乐原貌的真相,以及该乐种在古代朝鲜半岛和现在韩国的生存、变迁状况,最终发现朝鲜的文庙雅乐传承至今究竟在哪些方面保留了古代中国雅乐的内容,又在哪些方面按照自己的解释发生了改变,以及现代韩国对儒家文化传统的继承对文庙雅乐的影响。更多还原

【Abstract】 A Confucius sacrifice ceremony named Shin Tien is still held in Songgyungwan, Seoul, South Korea twice a year, first in Spring and second in Autumn. During ceremony, what coordinates with the sacrifice ceremony perfectly is the majestic and grand Mumyo Aak.Dasheng Yayue in Song Dynasty was introduced into Korean peninsula in 11 year of Ruizong in Koryo and then immediately blended into the court music and was played in ceremonies, such as Confucian temple, ancestral temple, dome and She-ji. At the beginning of 15th century, under the effort of Shizong King and musician Piao Ruan, the Mumyo Aak is reformed and at that moment the traditional Chinese Yayue got through a Korea localization process and changed a lot, but its virtuality keeps the original Chinese taste, which is characterized in that people sang on the stage, musical instruments are hanged under stage and people dance together. The virtuality of ceremony music was not changed and is still played now. It combines with the homage advocated by Confucianism.The article investigates the historical document and synthetically inspects the Chinaese Yayue inherited by Korea Li Dynasty to completely analyze and acquire the historical formation, inheritance and transition, cultural reasons and heritage of Chinese Yayue . The article contains seven chapters: I. Origin of Aak in Korean peninsula; II. Mumyo Aak in Koryo; III. Preparation and reformation of Aak in Shizong King; IV. Score of Mumyo Aak; V. Singing, hanging and dancing of Mumyo Aak; VI. Instruments of Mumyo Aak; VII. Mumyo Aak remains essentially the same despite all apparent changes.The article adopts historical musicology to investigate document and analytical method. The content mainly concentrates on Koryo, Korea and modern society and researches the original Chinese document from both China and Korea. Contrast method is adopted for fully researching the score, instruments, orchestra and temperament of Korea Mumyo Aak. In the view of a Chinese, the relationship between Korea Mumyo Aak and Chinese Yayue is reviewed in order to clear the face of Chinese Yayue and state the existence and transition in ancient and modern Korean peninsula, finally find what the Korean Mumyo Aak inherits from Chinese Yayue as well as what the modern South Korea inherits from Confucian culture and effects the Mumyo Aak and what changes according to their own understanding.更多还原