【作者】 袁薇；

【导师】 陈四海；

【作者基本信息】 陕西师范大学 ， 音乐学， 2004， 硕士

【摘要】 西域音乐文化在汉唐时期就已广泛传播于中原大地。以龟兹乐为代表的西域乐舞在中原的传播，使得整个中原文化产生了巨大的影响。并且大大推动了中原文化的变异和发展，在中原文化艺术中占据了重要地位。全文共分三个部分： 第一部分，导论。西域地理概念以及西域音乐的传入概况。西域的地理概念有广义、狭义的区别。在不同历史时期，“西域”地域范围不尽相同。西域地理位置及文化特征影响着西域民族。从乐舞的文化属性看，虽有狭义与广义之分，但实际这两者之间有时很难分开。中原与西域的文化艺术交流源远流长，汉代的中西音乐文化交流为中原传统音乐文化的发展奠定了基础。南北朝时大规模的音乐交流，为唐代乐舞的繁荣准备了条件。隋代是唐代乐舞发展的序曲，唐代是中原和西域乐舞艺术大交流、大融合的鼎盛时期。 第二部分，龟兹乐舞文化。龟兹地处中西交通要冲，是当时中西文化交融的中转站。龟兹乐舞传入内地，盛行朝野，经久不衰。新疆许多石窟中，保存了丰富的龟兹音乐。龟兹乐与佛教音乐关系密切，佛教文化渗透在龟兹乐中。龟兹音乐家苏祗婆、曹婆罗门、曹妙达等，在中西音乐交流中起着不可估量的作用。《泼寒胡戏》是古代龟兹人民祈求丰年、驱灾灭祸的一种假面狂欢歌舞戏。艺术价值极高的《苏莫遮》歌舞戏画卷，也是龟兹经济繁荣、国势强盛、文化发达的一个缩影。在唐代属于龟兹部的狮子舞由西域传入中原，且其表演具有龟兹乐舞的风格，但其来源未必仅限于龟兹，而应是源于广义上的西域地区。中原盛行狮子舞，是受西域狮子舞影响的结果。由此可见，中华民族的优秀文化，是各族人民共同创造的。西域各少数民族的文化，是我国文化历史长河中重要的组成部分。 第三部分，总论。以龟兹乐为代表传入中原的西域乐舞，在中原文化艺术中占据了重要地位。在繁盛的西域乐舞中，龟兹乐最具代表性，是民族风格的集中体现。西域乐舞艺术在中原的盛行，一方面说明中原文化对外来文化的包容功能和博大的吸纳气度；另一方面也显示了西域乐舞艺术本身具有强烈的穿透力和感染力。龟兹独特的地理位置，使其文化多彩繁荣，并且具有普遍意义上的“独特”性。这里的“龟兹乐”，泛指龟兹地方的乐舞，或具有龟兹风格的乐舞。龟兹乐舞之所以能享誉长安，广传中土，这与它善于吸收包括中原文化在内的外来文化，用以滋补和优化自身艺术创造是分不开的。中原与西域音乐文化的交流除皇室和亲外，还通过佛教东传、战争、外交和民间往来等渠道进行。在中原与西域音乐文化的交流中，胡化与汉化是文化艺术等方面的交流融合的重要表征。隋唐时期，上自皇帝，下至黎民，人们的乐舞戏画，衣食住行，都显现出少数民族文化，胡化可谓盛极一时。宫廷乐舞中的坐、立部伎的音乐受龟兹乐的影响也最大。唐代乐舞艺术的高度发展，得益于唐朝的建立。唐代的李氏皇族对于西域音乐有着特殊的偏爱，统治阶级对乐舞的酷爱与提倡，在一定程度也上促进了乐舞艺术的提高。西域音乐传入中土之后，为了适应汉族的欣赏习惯，而有不断汉化的过程，龟兹乐也是。中原文化以其广阔的胸怀兼收并蓄，融合汉、胡文化于一炉。由此可见，中华民族的文化是各民族文化互相交流、互相学习、互相融合而发展起来的。仁声了更多还原

【Abstract】 Music culture of west part of China represented by Qiuzi music, widely spreads in the Central China in the period of Han and Tang Dynasty, which has a great influence on the music culture of Central China and greatly promotes the variety and improvement of music culture of Central China. This paper is divided into three parts.Part I: Introduction of geographical conception of west part of China and its music. The conception of west part of China has a broad-sense definition and a narrow-sense one in different historical periods. The location of west part of China and its cultural characteristics have great influence on nationalities of west part of China. Regarding Music-accompanied Dance from culture point, it is impossible to separate the two definitions. Culture and art communication between west part of China and Central China lasts for a long time in the history. In Han Dynasty, this kind of communication prepares a firm basis for the development of Central China’s traditional music. In the Northern and Southern Dynasties, large-scale music exchange makes a good preparation for the prosperity of Music-accompanied Dance in Tang Dynasty, which is the highest point of this communication and mixture.Part II: Quizi Music Culture. Quizi lies in the thoroughfare of the China and west part of China, which is also the exchanging point of the two cultures. When Quizi Music-accompanied Dance is introduced to Central Plains, it becomes popular among officials and ordinary people and lasts for a long time. Buddhist culture permeates through Qiuzi music that is closely related with Buddhist music. A great deal of Qiuzi music is kept in the caves in Xin Jiang. Quizi musicians, such as Su Zhipo, Cao Poluomen, and Cao Miaoda, have vital importance in the music exchange. Pohanhu Dance is a Quizi carnival dance with mask which shows the hope for prospect of harvest and elimination of disasters. Sumozhe(a picture showing the dancing performance)with high artistic value is a mirror of prosperity, power and culture of Quizi. The Quizi Lion Dance, which has the Quizi style but not limited to Quizi resource, is introduced to Central China in Tang Dynasty and gains popularity. Therefore, the excellent Chinese culture is created by all nationalities and cultures of minority groups of west part of China are an important part in its development.Part III: Conclusion. Music and dance of west part of China represented by Qiuzi music, is introduced to Central China and plays an important role in its culture and art. Among prosperous western music-accompanied dances, Quizi Music is therepresentation of all kinds of styles of minority groups. The spread of Music-accompanied Dance of west part of China in Central China shows the following: First, Central China’s culture is open to alien cultures; Second, western Music-accompanied Dance has great power to spread and develop. The special geographic location of Quizi makes its culture prosperous and unique. (The Quizi Music I mention here is the Music-accompanied Dances of Quizi area or the ones with Quizi style.) Quizi Music-accompanied Dance achieves great fame in Chang’an and Central China, it’s because Quizi people is good at absorbing alien cultures, including Culture of Central China and improves itself in this process. Besides marriages between imperial families, the communication is realized by the spread of Buddhism ,war, diplomacy, and non-governmental contacts. Huization and Hanization is a clear symbol in the music culture communication between Central China and west part of China. In Tang Dynasty both the emperors and ordinary people show minority cultures in their music, dance, opera, drawing, clothes, food, housing and communication. Even the music-accompanied dances in the imperial palaces are greatly influenced. The full development of Tang Dynasty Music-accompanied Dance is based on the foundation of the Dynasty. The Li imperial kinfolks have a special preference to music of west part of China. The affection and promotion from the ruling class to some extent promote t更多还原