盛唐乐舞与诗歌相关性研究

发布时间：2018-02-25 17:41

本文关键词： 盛唐乐舞诗歌相关性　出处：《天津师范大学》2017年硕士论文　论文类型：学位论文

【摘要】：盛唐是中国乐舞最辉煌的时代。盛唐乐舞在继承前代的基础上,融入外来新风,获得长足发展,成就了燕乐舞文化的高峰。与此同时,盛唐也是诗歌发展的鼎盛时期。一大批天才诗人出现在盛唐诗坛,用手中的笔将盛唐推向诗歌发展抛物线的顶端。乐舞和诗歌在盛唐时期同时发展到顶峰,这绝非巧合。盛唐乐舞和诗歌的发展存在着相关性,乐舞对诗歌的发展产生着巨大的影响,体现在诗歌内容、风格和体式演变等方面。本篇论文试对盛唐乐舞和诗歌的相关性展开论述,分为五个部分。第一章,盛唐乐舞机构设置。盛唐时期的乐舞机构主要包括太常寺、教坊和梨园。太常寺是国家礼乐机关,主要负责祭祀礼乐的管理。教坊从太常寺中独立而来,是盛唐时期管理燕乐的重要机构。梨园是盛唐宫廷内部管理乐舞活动的机构,主要负责教习法曲。太常寺、教坊和梨园各自独立而又紧密联系,共同构成盛唐乐舞管理系统,为乐舞活动的开展提供了保障。第二章,盛唐乐舞类型与诗歌体裁。盛唐乐舞分为雅乐、清乐和燕乐三个类型。雅乐用于宫廷祭祀,其乐词为宫廷诗,政治性强,文学色彩较淡。清乐为传统华乐,其乐词为乐府诗。盛唐时期传统清乐衰落,其一部分演变为法曲,广为流行。燕乐是成熟于盛唐时期的新兴乐舞,融合了胡乐和传统华乐。盛唐燕乐包括九部乐、十部乐,坐部伎、立部伎,以及教坊乐。教坊歌曲孕育了声诗和曲子词的产生,与诗歌联系密切。第三章,盛唐乐舞与诗歌的互动。乐舞和诗歌在盛唐时期同时发展到顶峰,二者之间存在着大量的互动,体现在宫廷和民间两个层面。盛唐宫廷乐舞活动丰富,所用歌词为规模化集体创作,产生了大批配合乐舞的诗歌。民间乐舞活动广泛开展,文人与歌伎相互依存,音乐和诗歌作品被大量生产出来。同时,民间乐舞为诗人提供了鲜活的写作素材,众多描写乐舞活动的咏乐诗出现。第四章,盛唐乐舞风格和诗风的联接。盛唐乐舞所用的舞蹈依据风格分为"软舞"和"健舞"两大类型。盛唐软舞轻柔舒缓,盛唐健舞雄伟刚健。软舞和健舞与山水田园诗和边塞诗在风格上具有高度的相似性。盛唐乐舞风格和盛唐诗风是相互联接的。第五章,盛唐乐舞与诗歌体式的演变。在音乐发展变化的带动下,唐代诗歌经历了"古乐府——唐声诗——曲子词"这样三个阶段、两次变化。盛唐时期,随着燕乐的成熟,和乐歌词由乐府体演变为近体诗,唐声诗产生。随后,由于音乐形式的进一步发展,曲子词出现。
[Abstract]:The prosperous Tang Dynasty is the most glorious era of Chinese music and dance. On the basis of inheriting the previous generation, the prosperous Tang Dynasty music and dance has been integrated into the new trend of the outside world, and has made great progress, which has achieved the peak of Yan's music and dance culture. At the same time, The prosperous Tang Dynasty was also the peak of the poetry development. A large number of talented poets appeared in the poetry circle of the prosperous Tang Dynasty, and with the pen in hand, they pushed the prosperous Tang Dynasty to the top of the parabola of the poetry development. Music, dance and poetry developed to the peak at the same time in the prosperous Tang Dynasty. This is no coincidence. There is a correlation between music and dance and the development of poetry in the prosperous Tang Dynasty. Music and dance have a great influence on the development of poetry, which is reflected in the content of poetry. This paper tries to discuss the correlation between music and dance and poetry in prosperous Tang Dynasty, which is divided into five parts. The first chapter is the setting of music and dance organization in prosperous Tang Dynasty. The music and dance organizations in prosperous Tang Dynasty mainly include Taichang Temple. The Taichang Temple is the national ritual and music organ, which is mainly responsible for the management of sacrificial rites and music. It came independently from the Taichang Temple and was an important organization for managing Yan's music in the prosperous Tang Dynasty. The Li Yuan is the organ that manages music and dance activities within the imperial court of the prosperous Tang Dynasty. Mainly responsible for the teaching of Dafa. Taichang Temple, teacher's Square and Pear Garden are independent and closely linked, together to form a management system of music and dance in the prosperous Tang Dynasty, which provides a guarantee for the development of music and dance activities. Chapter two, Music and Dance types and poetic genres in prosperous Tang Dynasty. Music and Dance in prosperous Tang Dynasty are divided into three types: elegant music, Qing music and Yan music. The music is composed of Yuefu poetry. During the prosperous Tang Dynasty, the traditional music of Qing Dynasty declined, and some of it evolved into a French song, which became popular. Yan Yue is a new music and dance mature in the prosperous Tang Dynasty, which combines Hu Le and traditional Hua Yue. In the prosperous Tang Dynasty, Yan Music consists of nine pieces of music and ten pieces of music. In the third chapter, the interaction between music, dance and poetry in the prosperous Tang Dynasty. Music, dance and poetry developed simultaneously to the peak in the prosperous Tang Dynasty. There is a great deal of interaction between the two, which is reflected in the court and the folk. In the prosperous Tang Dynasty, the palace music and dance activities are rich, the lyrics used for large-scale collective creation, produced a large number of poems to cooperate with the music and dance. The folk music and dance activities were widely carried out. Literati and kabuki depend on each other, music and poetry are produced in large quantities. At the same time, folk music and dance provide poets with fresh writing materials, and numerous poems describing the activities of music and dance appear. 4th chapters, The combination of music and dance style and poetic style in prosperous Tang Dynasty. According to the style of music and dance in prosperous Tang Dynasty, there are two types of dance: "soft dance" and "Jian dance". The soft dance of prosperous Tang Dynasty is soft and soothing. The style of soft dance and Jian dance is highly similar to that of landscape idyllic poem and frontier fortress poem. The music and dance style of prosperous Tang Dynasty is connected with the style of prosperous Tang Dynasty poetry. Chapter 5th, The evolution of music, dance and poetic style in the prosperous Tang Dynasty. Driven by the development and change of music, the poetry of the Tang Dynasty experienced three stages, such as "ancient Yuefu-Tang song poem-song ci", which changed twice. In the high Tang Dynasty, with the maturity of Yan Yue, The lyrics of harmony music evolved from Yuefu style to modern style poetry, and Tang Sheng poetry came into being. Subsequently, due to the further development of music form, song words appeared.
【学位授予单位】：天津师范大学
【学位级别】：硕士
【学位授予年份】：2017
【分类号】：I207.22;J709.2

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