唐代赐乐制度考  

An Examination of the System of Granting Music in the Tang Dynasty

作　　者：李泉呈 Li Quancheng

机构地区：[1]聊城大学音乐舞蹈学院

出　　处：《中国音乐》2024年第6期156-163,共8页Chinese Music

摘　　要：赐乐制度是在礼乐背景下产生的一种用于奖赠的制度,赏赐内容早期以雅乐为主,后期则变得更为丰富,鼓吹、女乐等均成为赐乐内容。赐乐制度常突破等级用乐的规定性,逾制赐给有功臣子,使之能够越级使用高规格的用乐。赐乐现象始于周代,发展于汉魏六朝,完善于唐,在严密的礼乐系统中发挥着不可替代的作用。唐代赐乐形成了“鼓吹乐—女乐—教坊乐”的给赐格局,通过规范鼓吹乐与女乐的使用制度,赋予了礼制意义,并由此形成唐代赐乐的制度化体系。The system of granting music emerged as a mechanism within the broader framework of ritual music.Initially,the music granted was primarily composed of elegant court music,but over time it diversified to include Guchui music and Nvyue music.This system often circumvented the strict hierarchical regulations governing music,allowing high-ranking music to be bestowed upon meritorious officials and subjects,enabling them to experience music that exceeded their social rank.The practice of granting music can be traced back to the Zhou Dynasty,evolved throughout the Han,Wei,and Six Dynasties,and reached full maturity during the Tang Dynasty.It played a critical role in the highly regulated system of rites and music.During the Tang period,the system of granting music became more formalized,incorporating standardized patterns for granting Guchui music,Nvyue music,and music from the imperial music bureau.This formalization endowed Guchui and Nvyue music with significant ritual meaning,ultimately institutionalizing the system of granting music in the Tang Dynasty.

关 键 词：赐乐制度 鼓吹乐 女乐 礼制 

分 类 号：J609.2[艺术—音乐]