唐代伎乐的守成与新变  

The Maintaining and Innovation of Ji Yue Music in Tang Dynasty

作　　者：夏滟洲[1] 

机构地区：[1]西安音乐学院西北民族音乐研究中心

出　　处：《黄钟（武汉音乐学院学报）》2016年第4期51-62,共12页Huangzhong:Journal of Wuhan Conservatory of Music

基　　金：2011年国家社会科学基金艺术学项目--<中古良贱乐人社会身份的形成与中古伎乐的转型>(项目编号:11BD041)阶段性成果

摘　　要：唐代宫廷音乐中,多部伎的形成与运用,有其深刻的政治社会背景。从唐初对九部乐的改订到十部乐之用,再到二部伎的增造,充分地说明了这一点。随着唐代将散乐列于乐部,隐藏于多部伎创制中的因素被激发出来,从而形成了唐代多样化、娱乐化的伎乐体系,促进了诸多新的、普世性、社会性音乐品类流行,中古音乐雅俗之分明确,中古伎乐演化初步实现。In the royal court music of the Tang Dynasty,the formation and application of the duobuji had its profound political and social background.It was fully illustrated this point that from reformulating jiubuyue(nine kinds of music) to using shibuyue(ten kinds of music),and then to adding erbuji(mainly refers to sit,stand two forms of performance)in the early years of Tang Dynasty.With Sanyue(folk music and dance) listed in yuebu(Country music official) in Tang Dynasty,it stimulated out the factors hidden in the creation of duobuij,thus forming the system of jiyue of diversification and entertainment in Tang Dynasty,to promote a lot of new,universal,and social category of music popular,the music in Han and Tang Dynasties appearing the separation of ceremonial classic music and folk music,and initial realization the evolution of jiyue in Han and Tang Dynasties.

关 键 词：中国音乐史 唐代 多部伎 转型 

分 类 号：J609.2[艺术—音乐]