理念与视角:深层认知传统国家用乐的当下民间存在——以江南文化历史中的传统音乐为例  

Concept and Perspective:Deep Understanding of the Current Folk Existence of Traditional Music:Exemplified by the Traditional Music in South Yangtze Cultural History

作　　者：项阳 XIANG Yang

机构地区：[1]河北师范大学 [2]中国艺术研究院音乐研究所,北京100029

出　　处：《音乐艺术（上海音乐学院学报）》2023年第1期6-23,M0003,共19页Art of Music(Journal of the Shanghai Conservatory of Music)

基　　金：上海音乐学院“两院一刊”委约计划。

摘　　要：自两周以来,传统国家用乐由制度下生存的职业乐人创承发展,形成具有多功能的礼乐和俗乐两条主脉,并呈体系化演进。在制度性规定下,国家用乐的礼俗两脉互为张力,呈多种形态有序发展。其中俗乐一脉,因区域文化土壤丰沃,文人与职业乐人互动,创造了具有引领意义的体裁类型和作品,对国家用乐有实质性影响,并在国家制度保障下前行。如唐代由太常分立国家俗乐机构教坊,在其发展过程中逐渐礼俗兼具,在地方官府用乐中作为标识存在。只有建立共时与历时相结合的认知视角,才能厘清国家用乐的区域存在和民间积淀,把握传统音乐文化的内涵。Traditional national music has been created and developed by the survival of professional musicians under the system since two Zhou dynasties(mid-11th-256 BC)with the protection of national ritual music and folk music as the two main veins.In the Tang Dynasty(618-907),the institution to train musicians was separated from the Tai Chang(ceremony department)as a national folk music institution,but the folk music was both ritual and custom in the process of development.This feature is also a hallmark feature of local government music.Only by establishing a cognitive perspective combining its synchronic and diachronic nature to clarify the regional existence of national music and the sustainable development of folk accumulation can we truly grasp the overall deep connotation of traditional music culture.

关 键 词：传统音乐 国家用乐 礼俗两脉 官属乐人 教坊乐系 江南文化历史 

分 类 号：J609.2[艺术—音乐]