唐代乐舞分类观在日本的接受与变迁  

Reception and Evolution of the Classification Concept of Tang Dynasty Music and Dance in Japan

作　　者：周汨[1] ZHOU Mi(Department of Musicology,Wuhan Conservatory of Music,Wuhan 430060,China)

机构地区：[1]武汉音乐学院音乐学系,武汉430060

出　　处：《北京舞蹈学院学报》2024年第3期84-91,共8页Journal of Beijing Dance Academy

基　　金：2021年度湖北省教育厅科学技术研究计划青年人才项目“唐代宫廷乐舞在日本的变迁研究”(项目编号Q20212401)阶段成果。

摘　　要：唐代乐舞分类意识对日本的乐舞分类有所影响,但并不完全。唐代祭祀之乐舞有文舞、武舞,胡俗之乐舞按地域分九部乐、十部乐,按表演风格分为健舞和软舞,按表演形式分为坐立部伎、字舞、花舞、马舞,是文化融合思想引导下的技艺划分。日本承袭唐代文舞、武舞两种类别名称,以及童舞、咏舞(啭舞)两种表演方式,但其内容和功能已发生变化。传入日本的唐乐舞有其特殊的表演场域和传承路径,体现了日本在乐舞分类中的国家意识。The awareness of music and dance classification in the Tang Dynasty had an impact on Japan's categorization,though not entirely.The sacrificial music and dance were divided into Wen dance and Wu dance in the Tang Dynasty.Foreign music and dance were categorized into nine kinds of music and ten kinds of music by region,Jian dance and Ruan dance by performance style,and sitting music and standing music,character dance,flower dance,and horse dance by performance form,reflecting a skill-based division guided by concepts of cultural integration.Japan adopted the Tang Dynasty's category of Wen dance and Wu dance,as well as the two performance styles of children's dance and chanting dance(warble dance),but their contents and functions have changed.The music and dance of the Tang Dynasty introduced to Japan had unique performance venues and inheritance paths,reflecting Japan's national consciousness in its music and dance classification.

关 键 词：唐乐舞 分类观 文化融合 国家意识 

分 类 号：J730.9[艺术—舞蹈]