唐代“太常四部乐”再考订  

A Re-examination of “the Imperial High Priesthood's Four-part Symphony”

作　　者：穆渭生[1] 

机构地区：[1]西安文理学院长安历史文化研究中心,陕西西安710065

出　　处：《陕西师范大学学报（哲学社会科学版）》2015年第2期44-53,共10页Journal of Shaanxi Normal University(Philosophy and Social Sciences Edition)

摘　　要：唐代"太常四部乐"的史料极为简略,晚近学者对其性质和"乐部"构成的研究结论,至今尚有分歧,故还可以再作探讨。从时间上考察,此"四部乐"始于唐玄宗即位之初、唐睿宗退居"太上皇"而犹掌大政的特殊政局之下;其后用为皇太子"嘉礼"音乐。其政治性质和礼仪功能,与天子大朝会所用"十部乐"可谓异曲同工,但在礼乐制度规格上低一个等级。其乐部组成应为龟兹部、胡部、大鼓部和军乐部。唐德宗时南诏国进献的"四部乐",应是以盛唐"太常四部乐"为蓝本的仿制品。Historical materials about ＂the imperial high priesthood＇ s four-part symphony＂ of the Tang Dynasty are few and rare. Up till now, opinions still differ in the latest results their organization and ＂musical parts＂, which allows enough room for re-examination. In terms of historical phases, ＂the four musical parts＂ started in the early reign of Emperor of Xuan and in the special political situation when Emperor of Rui still stayed in power after retired as the arch-emperor. After that it was used at the Prince＇ s ceremonies. Although it was different in form but equally satisfactory as ＂the ten-part symphony＂ at the imperial grand rite, it was lower in rank in the imperial ceremonial system of music. The symphony consisted of Qiuci, Barbarian, Great Drum and Military Music parts. In the reign of Emperor of De, Nanzhao offered a ＂four-part symphony＂, which hap- pened to be a copied version of ＂the imperial high priesthood＇ s four-part symphony＂.

关 键 词：“太常四部乐” 唐玄宗 南诏献乐 乐部体制 

分 类 号：K242.2[历史地理—历史学] K875.5[历史地理—中国史]