从日本雅乐看唐参军和唐大曲的表演形式  

The Performance Form of Canjun and Grand Music in the Tang Dynasty:Viewed from the Perspective of Japanese Gagaku

作　　者：葛晓音[1] 

机构地区：[1]北京大学中文系,北京100871

出　　处：《北京大学学报（哲学社会科学版）》2015年第3期114-126,共13页Journal of Peking University(Philosophy and Social Sciences)

摘　　要：由日本《新撰乐谱》所录的"盘涉参军"可知,唐代传到日本的"参军"本来是大曲。通过考辨可以确认唐大曲和日传唐乐大曲的相同结构形式是:散序(游声、荒序等)→中序(飒踏、排遍)→入破、虚催拍(第五遍)、催拍(第六遍)、杀头(杀衮、第十遍)→急。大曲"盘涉参军"与俳优的"弄参军"在文献记载中看似两种不同的形式。但是日本唐乐中少数舞乐的滑稽情节与舞蹈动作融为一体,由此推测大曲也可以有滑稽取乐的表演。俳优的"弄参军"、包括有参军、苍鹘两个脚色的表演形式很可能摘自大曲"参军"。From a piece of music named Panshe Canjun （《盘涉参军》）recorded by New Music Score （《新撰乐谱》）in Japan, we find that the music of Canjun introduced into Japan during the Tang Dynasty was originally a piece of grand music （Daqu, 大曲 ） of the Tang Dynasty. This paper reveals that the grand music of the Tang Dynasty and the grand music introduced into Japan had the same structural form. Panshe Canjun as a piece of music and Nong Canjun （《弄参军》） as a comedy seemed to be different in form. But in the Japanese Tang music（ 日本唐乐） , the funny plots of a few pieces of dancing music were incorporated into the dance moves. So we can guess that in the grand music of the Tang Dynasty, there might be some funny performances. Nong Canjun as a comedy with its form of performance made by two major roles named Canjun and Canghu（苍鹘） was probably originated from Canjun as a piece of grand music.

关 键 词：新撰乐谱 盘涉参军 大曲结构 表演形式 

分 类 号：I207.2[文学—中国文学]