唐大曲以地为名现象研究  

On the Phenomenon of Naming after Places in Daqu of the Tang Dynasty

作　　者：梁振中 LIANG Zhen-zhong(School of Music,Baoji University of Arts and Sciences,Baoji 721013,Shaanxi)

机构地区：[1]宝鸡文理学院音乐学院,陕西宝鸡721013

出　　处：《宝鸡文理学院学报（社会科学版）》2022年第5期98-104,136,共8页Journal of Baoji University of Arts and Sciences：Social Science Edition

基　　金：陕西省社会科学基金:“以地名为曲名:中古都市音乐与社会关系研究”(项目编号:2019K034)。

摘　　要：唐大曲的曲名隐含着中古时期的文治、武功、礼俗、宗教、物情,其中以地名为曲名的现象承接了魏晋南北朝以来的乐曲命名习惯,此类大曲多与胡乐、佛教有紧密关系。从宫廷的多部伎中管弦类的代表西凉伎和鼓舞类的代表龟兹伎等到教坊和民间大曲的“边地新声”“新俗乐”,这些大曲在曲式上传承了南北朝清商大曲的传统结构,在乐队编制上加入了大量西域乐器,在调式上采用了源自印度七调的燕乐二十八调,从而完成了多民族艺术的融合。唐末之后大曲多用变奏提升表现力,曲名逐渐曲牌化。Daqu in the Tang Dynasty implies various social aspects of the Tang Dynasty,including culture and education,administration,rituals,religion,geography.The way of naming the names of Daqu after places inherited the music naming manner in period of the Wei,Jin,Southern and Northern Dynasties.Those Daqu tend to have a close tie with Hu music and Buddhism.Ranging from Xiliang subclass,the typical orchestral representatives of Duobuji in imperial music and dance,to Qiuci subclass,a type of drum dance music,and to Frontier new sound and New folk music,representative of Daqu in folk style,a wide variety of Daqu inherited the traditional structure of Qingshang Daqu in the Southern and Northern Dynasties,with an addition of musical instruments coming from the western border regions,an integration of Twenty-eight Tones of Yan music originated from the Indian Seven Tones.It is a combination of art forms from multiple cultures.After the Tang Dynasty,Daqu mainly resorted to musical variation in order to improve its expressiveness.Since then the name of Daqu began to be formulated into Qupai.

关 键 词：唐大曲 地名 曲名 乐舞 

分 类 号：I269.6[文学—中国文学] J639[艺术—音乐]