清乐“亡国之音”论略  

Discussion about Qing-Shang Music as the Sound of the Country's Perdition

作　　者：黎国韬[1] 

机构地区：[1]中山大学中国非物质文化遗产研究中心,广东广州510275

出　　处：《中国文学研究》2012年第2期16-20,共5页Research of Chinese Literature

基　　金：教育部人文社会科学研究规划项目"汉唐戏剧新考"(11YJA751032);国家社科基金重点项目"观念;视野;方法与中国戏剧史研究"(08AZW002)阶段性成果

摘　　要：陈朝的《玉树后庭花》、《黄鹂留》、《金钗两臂垂》、《临春乐》、《春江花月夜》、《堂堂》等乐曲,及隋朝的《泛龙舟》、《投壶乐》二曲皆为"清商新声;"北齐的《伴侣》、《无愁》二曲,及隋朝的《万岁乐》、《斗百草》等曲之产生,也和"清商新声"存在渊源关系。然而,以上音乐及曲辞都曾蒙上"亡国之音"的恶名,分析其主要原因大约在于:它们都不属于雅声之列,且均具有声调哀怨、感人至深、曲辞艳丽、过度求新等艺术和文学特点,其表演所费亦极于奢华,统治者过份沉溺其中,遂终至亡国。The songs Yu-Shu-Hou-Ting-Hua, Huang-Li-Liu, Jin-Cha-Liang-Bi-Chui, Lin-Chun-Yue, Chun-Jiang-Hua-Yue- Ye and Tang-Tang of Chen Dynasty and the two songs Fan-Long-Zhou and Tou-Hu-Yue of Sui Dynasty were known as Qing-Shang New Sound. Furthermore, the songs Ban-Lv and Wu-Chou of Beiqi Dynasty and the songs Wan-Sui-Yue and Dou-Bai-Cao of Sui Dynasty also related with Qing-Shang New Sound. However, all of above songs were called the sound of the country＇s Perdition. The main reason has three as follows： Firstly, Neither of them belonged to Elegant Music. Secondly, they expressed plaintive feelings and their lyric was too amorous and so on. Thirdly, their show cost too much. When a monarch abandoned himself in the music, his country would come to perish sooner or later.

关 键 词：清乐 亡国之音 新声 哀怨 艳曲 

分 类 号：I206.2[文学—中国文学]