【作者】 曾美月；

【导师】 修海林；

【作者基本信息】 河南大学 ， 音乐学， 2004， 硕士

【摘要】 唐代的社会生活中，宴乐是一种占主流地位的音乐活动方式。本文对有关唐代宴乐活动的史料作了较为细致全面的史料收集、整理和分析，在归纳、描绘出唐代宴乐各种活动类型的同时，也对唐代宴乐活动的文化方式，有一个全方位、全景式的了解。 本文按唐代宴乐的功能、形态和活动方式，以宴乐主体的身份、宴乐场合、宴乐活动性质作为主要的类型划分标准，把唐代的宴乐活动分为礼仪性宴乐活动、教化性宴乐活动、娱乐性宴乐活动三大类。其中，礼仪性宴乐活动主要用于宫廷，教化性宴乐活动既用于宫廷、也用于州、县政府，娱乐性宴乐活动则渗透在各个社会阶层和群体(上至皇帝、皇族宗室，中至文武官员、文人商贾，下至普通平民)的音乐生活当中。因此，娱乐性宴乐活动作为唐代宴乐活动的最主要的类型，又分为宫廷娱乐庆典性宴乐、皇帝内宴乐、赏赐性宴乐和官府宴乐、家宴乐、游乐性宴乐、青楼酒楼宴乐、军旅平民和商贾的宴乐活动七种较大类型。 本文在已有的史料基础上，从共时性的角度对唐代宴乐活动的各个类型进行了音乐形态、宴乐活动方式和宴乐功能的描绘、剖析，可知：礼仪性宴乐活动主要以乐悬为音乐表现载体，其音乐主要起到明确身份、以为行节的作用，礼仪性宴乐活动本身也是国家政治生活的重要组成部分。教化性宴乐活动在太学中以乐悬为音乐表现载体，在乡饮酒中以笙、歌间奏的小型乐队进行，它是一种从宫廷到地方政府贯彻实施的教化活动，主要起到厚风俗、正人伦的作用。娱乐性宴乐活动其音乐主要表现为歌舞、百戏、或歌舞百戏的综合，它有大型和小型之分。大型娱乐性宴乐主要以纯粹的艺术观赏的方式进行，其音乐具有综艺性，宴乐者不参与音乐表演；小型娱乐性宴乐以歌筵舞席的方式进行，宴乐者参与到音乐的表演当中。娱乐性宴乐在达到娱乐的功能以外，也时常起到调节人际关系的作用，君臣之间的宴乐更有着双向的政治目的，军旅宴乐则起到了鼓舞士气的作用，而文人家乐和雅集更体现了文人特有的文化内涵。 本文通过对唐代各种类型的宴乐进行描绘、剖析，并得出结论，宴乐作为唐代人文精神、文化风尚的一种独特表达方式，本身就栖身、植根于唐代的文化土壤之中，甚至可以说，宴乐活动本身就是唐代多种文化的一个“集聚点”，唐代的文化(包括其各种经济、政治状况)都在宴乐中有着较为普通和深刻的反映。更多还原

【Abstract】 In the social life of the Tang Dynasty, banquet music performances occupied a mainstream position in all music performances. In this thesis, the author collects, sorts and analyzes the historical literature about banquet music performances, in a relatively detailed, full-scale way. Then, with an all-around, panoramic understanding about the banquet music culture, the author puts forward the various performance types below by means of generalization, and further describes all the types detailedly.In terms of their function and style, this thesis classifies banquet music performances into three types: ritual, educational, and recreational. Ritual banquet music performance took place mainly in the court. Educational one was suitable not only for the court but also for prefecture and county governments. Recreational one was permeated into the musical life of all social strata and groups of people, including the highest stratum of emperors, royal families and relatives, the intermediate group of officials, scholars and merchants, and the lowest grassroots. Accordingly, as the biggest type of banquet music performances, it is further divided into seven major sub-types, namely, performance for court entertainment and celebration, for emperors’ private dinners, for awarding and for local governments, for households, for traveling, for whorehouses and restaurants, and for armies, civilians and merchants.On the basis of the available historical materials, this paper states and dissects diachronically and typologically the musical forms, styles and functions of banquet music performances. It is made clear that ritual banquet music performance took the form of yue-xuan (乐悬), a term for serial hanging bells and musical stones in ancient China, as the medium of musical presentation. In the performance, the music functioned primarily to clarify identity for the sake of salutation. This performance itself was a very important part in the political life of the dynasty. Similarly, educational banquet music performance also used the form of yue-xuan as the medium of musical presentationwhen it was in tai-xue (太学), the highest educational institution of the Tang Dynasty. However, when it came to xiang-yin-jiu (乡饮酒, a ritual for showing respect for the old, it proceeded with a small band playing sheng(笙), a reed pipe wind instrument, and singing songs alternatively. This performance, as an educational activity, carried out and put into practice in the court and by local governments, played mainly the role of intensifying traditions and rectifying human ethics. It is also made clear that recreational banquet music performance was presented in the form of song and dance, bai-xi (百戏) a collective term for the art of folk performances in ancient China, or both. It covered large-scale and small-scale recreational performances. The former was for people to watch and appreciate with a purely artistic eye, so they would not take part in the music performance. The latter was under way in the form of singing, dancing and feasting, and attendees would participate in the music performance. Apart from attaining the aim of entertainment, recreational performance was also likely to adjust human relations. In addition, the banquet music performance between an emperor and his officials reflected bilateral political purposes, and the performance in the army boosted the morale of soldiers, and the performance in literates’ home as well as in their get-together reflected their peculiar cultural connotations.Through the description and analysis of the various types of banquet music performances, this thesis comes to the conclusion that these performances’, perched and rooted in the cultural land of the Tang Dynasty, represented a unique human spirit and cultural fashion of people at that time. In other words, banquet music performances themselves were a cultural focus of the dynasty. All the aspects of the Tang Dynasty culture, including economy and politics, were shown commonly and deeply by virtue of banquet music performances更多还原