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作 者:杨赛[1] YANG Sai
机构地区:[1]上海音乐学院,上海200031
出 处:《音乐探索》2022年第1期28-40,共13页Explorations in Music
基 金:国家社科基金后期资助项目“乐记集校集注”(17FYS005)阶段性成果;霍英东教育基金会青年教师基金项目“中国音乐史料学”(111102)阶段性成果;上海市教委科研创新计划人文社会科学重大项目“20世纪上半叶中国音乐学术史”(202115)阶段性成果。
摘 要:周集先秦歌诗之大成,完善了颂、雅、风歌诗体系。周传承了黄帝、颛顼、喾、尧、舜、夏、商以来祭祀音乐,制作了《周颂》和大部分《大雅》,歌颂周历代先王、周文王、周武王的功德,作为立国之本。周在继承尧、舜燕乐的基础上,制作了《小雅》和部分《大雅》。周收集历代先王老百姓的古老民歌以及周各地遗民的新民歌,辑成风。周歌诗表演,以器乐开场,声乐继之,整齐划一,声音雅正。声乐与器乐密切配合,以声歌、丝弦、吹管为主,有工歌、笙奏、间歌、合乐四种形式。周歌诗体制包含乐教、乐音、乐器、乐舞等职部。风反映各族老百姓的真实情感,周据以考察百姓意愿与官员政绩。东周春秋末期礼乐疲弱,歌诗流失严重,孔子对周歌诗做了整理,形成了《诗经》乐谱。周歌诗记谱法应为声曲折谱。周歌诗在不同的礼仪场合展演,获得了老百姓的支持,巩固了周的统治基础,维护了周政权的长期稳定。王光祈是中国古谱译介的先行者,他对《诗经》乐谱的研究开启了古谱诗词的学术门径。In the Zhou Dynasty,the poetic system was completed which was comprised of three sections:Ya or hymns,Song or odes and Feng or folk songs.The sacrificial music in the ruling periods of emperors Yellow,Zhuanxu,Ku,Shun and in Xia and Zhou Dynasties was inherited to become Zhou Hymns and most of Greater Odes.Yanyue from emperors Yao and Shun was succeeded to become the base of Lesser Odes and part of Greater Odes.The folk songs from previous dynasties and different geographical areas of Zhou were collected to become Feng that reflected the true feelings of civilians.The Singing-poem performance in Zhou usually consists of four categories:songs sung by musicians,Sheng Solos,interval songs and ensemble music.It includes institutions respectively in charge of education,sound,instrument and dance of music.Singing-poems were in great danger of loss at the end of the Spring and Autumn period due to the weakness of ritual music then.Confucius collated the singing-poems of Zhou into the Book of Poetry.Notated in curves and performed in various ceremonial occasions,the singing-poems were rich in meaning and metaphors of relations between ruler and minister,father and son,the superior and the inferior etc.Wang Guangqi initiated a route of studying the ancient poems with music scores.
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