【作者】 张瑞娟；

【导师】 魏蔚；

【作者基本信息】 中国音乐学院 ， 音乐学， 2011， 硕士

【摘要】 唐代(公元618-公元907年),是中国经济、文化空前发展的一个鼎盛时期,音乐艺术在这个时期里也创造了属于自己的辉煌成就。正是在这样一个百花齐放的氛围中,阮咸的发展也达到了前所未有的高峰,在唐代音乐占据了不可或缺的地位,并传至日本,至今日本正仓院中仍保存有一面唐传“紫檀螺钿阮咸”和一面唐传“桑木阮咸”。在唐代的史书、诗词等历史文献中有诸多关于阮咸的记载,但现存资料有限,笔者意在通过对这一时期现存可以查阅的史料进行梳理、整合、研究,为日后史料的发掘、辨析、研究及分析打下基础。本论文将从音乐文献学、音乐史学与民族音乐学等不同角度的研究方法中汲取养分,采用文献资料研究、分析、比较、实践研究等方法进行研究,以唐代音乐文化为研究背景,日本皇家正仓院收藏的紫檀螺钿阮咸为研究对象,通过对史料的收集和研究,对唐传阮咸的继承与发展意义展开研究,得出以下结论：第一、通过对相关文献史料的收集、整理和研究后发现唐代文献中所提到的清商乐的乐谱确已失传,其中与阮咸相关的乐曲更是无从考证了。第二、唐代周文炬的《宫中图》和《二弄谱》(编撰者已不可考)所示“琴阮二弄”的演奏形式说明唐代阮咸属汉族传统音乐中清商乐伴奏乐器之一。第三、通过对日本正仓院现存“螺钿紫檀阮咸”,结合现存相关文献的研究,发现日本正仓院所存阮咸系中国唐代东流之器,为研究唐代阮咸的历史、形制、音响以及使用提供了较为重要的参考依据。第四、通过唐传阮咸的仿制与复制等工作,发现我们现在使用的阮咸较之唐传阮咸品柱数量有所增加,音域有所拓宽,具有相对更高的演奏难度和音乐表现力。综上所述,目前尚未发现中国历史上有关于阮咸的曲谱留存至今,但笔者在众多诗词歌赋中也零星收集到一些阮咸演奏的曲目名称,为日后对唐代阮乐谱的研究打下基础。更多还原

【Abstract】 During the Tang Dynasty (618-907) which marks the golden age of China’s economic and cultural development, the art of music also created its own brilliant achievements. In such a flourishing environment, the development of the ruanxian (a Chinese plucked string instrument) reached an unprecedented peak and occupied an indispensable position in the music of the Tang Dynasty. The ruanxian was even brought to Japan from China, and now is still stored in Shosoin in Japan——one is made of red sandalwood and the other is made of mulberry. Some records of the ruanxian were documented in the history books and poetry of the Tang Dynasty. The paper aims to sort out, organize and study the existing historical documents, so as to lay the foundation for research and analysis in the future.Based on the research methods of music literature, music history and ethnomusicology, the paper studies the background of the music culture of the Tang Dynasty, and focuses on "the ruanxian made of red sandalwood" stored in Shosoin in Japan; through the collection and study of the historical documents, the paper tries to reveal the significance of the inheritance of ruanxian. The conclusions are listed as follows:First, through collecting, organizing and studying of relevant historical literature and data, the author finds that the score of qingshang music mentioned in the documents was indeed lost, including the ruanxian music.Second, the performing form of "playing both the qin and the ruan" revealed in Zhou Wenju’s Palace Scene of the Tang Dynasty indicates that ruanxian is one of the accompaniment musical instruments of qingshang music, which belongs to the traditional music of the Han nationality.Third, based on the study of "the ruanxian made of red sandalwood" stored in Shosoin in Japan and the existing documents, the author thinks that the ruanxian was brought to Japan from China in the Tang Dynasty, which provides important reference frame for the study of the history, shape, making, sound and use of the ruanxian of the Tang Dynasty.Fourth, through the imitation and replication of Tang Dynasty ruanxian, it has been found that today’s ruanxian has increased its capo and widened its range, leading to bigger performing difficulty and better musical expression.In sum, so far, no score of the ruanxian has been found. Yet, the author has collected the names of some pieces of the ruanxian music scattered in the poems and songs, which lays the foundation for the study of the score of the ruanxian music in the future.更多还原