从《苏幕遮》看龟兹乐在中原文化中的发展变化  

The Development and Changes of Kucina Music in Central Plains’Culture from the Epigraph of Name of Su Muzhe

作　　者：屈玉丽[1] 齐嘉锐 Qu Yuli;Qi Jiarui

机构地区：[1]塔里木大学人文学院,新疆阿拉尔843300

出　　处：《地域文化研究》2020年第6期52-58,M0004,共8页

基　　金：国家社科基金青年项目(19CZW031)。

摘　　要："苏幕遮"作为龟兹乐的代表之一,其来源于"泼寒胡戏",在自身发展的前期与"泼寒胡戏"以一体同指的方式共存着。东传之后,它在与中原传统礼文化的交流碰撞中伴随着封建王朝的发展产生了一系列的变化,直到最后基本脱离龟兹文化的影响,带着其中所留存的龟兹乐遗韵一同进入中原诗词系统,成了诗词史上不可或缺的一部分。As one of the representatives of Kucina music,"Su Muzhe"originated from"Pohanhuxi",and coexisted with"Pohanhuxi"in the early stage of its own development.After the eastward transmission,it has undergone a series of changes along with the development of the feudal dynasty,until it finally broke away from the influence of Kucina culture.With the remaining rhyme of Kucina music,it entered the poetry system of the Central Plains and became an indispensable part of the history of poetry.

关 键 词：苏幕遮 泼寒胡戏 龟兹乐 传统礼文化 

分 类 号：I207[文学—中国文学]