唐代宫廷音乐与道教音乐综合比较研究

发布时间：2018-05-05 08:24

本文选题：宫廷音乐 + 道教音乐　；参考：《四川师范大学》2011年硕士论文

【摘要】：宫廷音乐和道教音乐是中国传统音乐中重要的两个组成部分,在中国传统音乐研究中,必然要提到宫廷音乐和道教音乐。唐代是宫廷音乐和道教音乐发展的鼎盛时期。研究唐代宫廷音乐和道教音乐具有重要的史学意义和学术价值。在唐代经济高度发展,社会稳定的基础上,统治者十分重视音乐,在恢复雅乐的同时,更重视燕乐的发展,故宫廷音乐文化呈现“重燕轻雅”的趋势。唐代统治者采取“兼收并蓄”的开明政策,在民族音乐大融合和外来音乐逐渐融入宫廷音乐时,其风格呈现多元化。与此同时,唐代统治者一方面推崇道家学派的思想,十分重视道教,并将道教定为国教;另一方面,唐代对道教经籍加以收集和整理,唐玄宗时编撰了第一本道藏《开源道藏》,并在全国建立了规模较大的道观。为道教音乐的繁荣提供了良好的平台。随着道教文化在唐代的繁荣发展,道教音乐随之发展,特别是道教科仪音乐的规范。唐代宫廷音乐和道教音乐在长期的发展过程中,通过统治者这个有利的传播,二者在音乐上逐渐产生融合。它们这种融合性主要体现在音乐形态、审美形态这两个方面。音乐形态是二者比较的关键。在音乐形态中具体从二者的歌曲形态(歌曲的唱法、曲式结构、曲词关系)、音乐仪式中乐队的编制和乐器的使用、音乐教育机构等方面进行具体的比较,通过比较得出二者的个性和共性,挖掘二者的融合性。同时在审美形态方面,宫廷音乐和道教音乐也是具有个性和共性的特点。宫廷音乐的思想理论是建立在儒家学派老庄思想之上,认为音乐关系到国家的兴衰,礼乐教化的施行对于实现国家统治具有重要意义。在唐代,帝王音乐家如唐太宗和唐玄宗十分重视宫廷音乐的发展,并为宫廷音乐的发展做出了重要贡献。唐太宗认为音乐本身没有哀和乐之分,音乐的感情色彩主要是由人内心理感悟而体现的。他认为是政治决定音乐,而不是音乐决定政治,音乐的哀乐与国家的兴衰是没有关系的。唐玄宗主要致力于宫廷音乐的创作,并建立了音乐机构梨园,为唐代培养了大批音乐家。二者在音乐上都采取了兼收并蓄的政策,大大地促进唐代宫廷音乐的多元化发展。道教音乐的思想是建立在道家学派的思想体系之上,以“中和”思想为审美标准。“中和”思想最初是由孔子提出的。可见,道教音乐和宫廷音乐的思想形态存在一定的联系性。宫廷雅乐和道教音乐在审美形态上都呈现中正、清雅的风格。宫廷音乐和道教音乐发展到现今社会,由于很多历史原因,宫廷音乐几乎面目全非,仅仅是停留于理论研究。而道教音乐因抢救及时而保存的相对完好。近几年,都有提出复兴雅乐的倡议,但是雅乐复兴是一个长期、艰难的过程,由于社会环境和认识的差异,人们对于宫廷音乐只能停留于欣赏的层面。
[Abstract]:Court music and Taoist music are two important components of Chinese traditional music. In the study of Chinese traditional music, it is necessary to mention court music and Taoist music. The Tang Dynasty was the heyday of the development of court music and Taoist music. It is of great historical significance and academic value to study court music and Taoist music in Tang Dynasty. On the basis of high economic development and social stability in the Tang Dynasty, the rulers attached great importance to music and paid more attention to the development of Yan music while restoring elegant music. Therefore, the court music culture showed a tendency of "emphasizing Yan and neglecting elegance". The rulers of the Tang Dynasty adopted the enlightened policy of "all-embracing". When the folk music and foreign music gradually merged into the palace music, their styles were diversified. At the same time, on the one hand, the rulers of the Tang Dynasty respected the Taoist school, attached great importance to Taoism, and designated Taoism as the state religion; on the other hand, the Tang Dynasty collected and sorted out Taoist classics. Tang Xuanzong compiled the first Taoist collection, open-source Taoist collection, and established a larger Taoist temple in the whole country. It provides a good platform for the prosperity of Taoist music. With the prosperous development of Taoist culture in Tang Dynasty, Taoist music developed, especially the norms of Taoist music. During the long-term development of court music and Taoist music in the Tang Dynasty, through the beneficial spread of the ruler, the two gradually merged in music. Their fusion is mainly reflected in the music form, aesthetic form these two aspects. Music form is the key to the comparison between the two. In the form of music, a specific comparison is made between the two forms of songs (the singing method of songs, the structure of music forms, the relationship between songs and words, the compilation of bands and the use of musical instruments in music ceremonies, music education institutions, etc.) Through the comparison of the individuality and commonness of the two, excavate the fusion of the two. At the same time, court music and Taoist music also have the characteristics of individuality and commonality in aesthetic form. The theory of palace music is based on the Confucian thought of Laozhuang, which holds that music is related to the rise and fall of the country, and the implementation of ritual and music education is of great significance to the realization of national rule. In the Tang Dynasty, imperial musicians such as Taizong and Xuanzong attached great importance to the development of court music and made important contributions to the development of court music. Taizong believed that music itself has no sorrow and music, the emotional color of music is mainly reflected by human psychological perception. He believed that it was politics, not music, that determined politics, and that music's sadness had nothing to do with the rise or fall of the country. Tang Xuanzong mainly devoted to the creation of court music, and established the music organization Li Yuan, trained a large number of musicians for the Tang Dynasty. Both of them adopted an all-embracing policy in music, which greatly promoted the development of court music in Tang Dynasty. The thought of Taoist music is based on the ideological system of Taoist school and regards "neutralization" as the aesthetic standard. The thought of "neutralization" was originally put forward by Confucius. It can be seen that Taoist music and palace music have a certain relationship between ideology and form. Court elegant music and Taoist music in the aesthetic form both show a moderate, elegant style. Court music and Taoist music developed to the present society, because of many historical reasons, court music almost completely different, just stay in the theoretical research. Taoist music is relatively intact because of timely rescue. In recent years, there has been a proposal to revive elegant music, but the revival of elegant music is a long-term and difficult process. Due to the differences of social environment and understanding, people can only stay in the level of appreciation for court music.
【学位授予单位】：四川师范大学
【学位级别】：硕士
【学位授予年份】：2011
【分类号】：J609.2

【共引文献】