浏阳祭孔音乐探源

发布时间：2018-06-27 04:02

本文选题：清代 + 宫廷　；参考：《湖南师范大学》2008年硕士论文

【摘要】： 祭孔音乐是中国古代雅乐的组成部分,在祭祀孔子的仪式上演奏。自西汉始,祭孔音乐成为古代宫廷雅乐的重要组成部分,至清代达到成熟的高峰。浏阳祭孔音乐是清代祭孔音乐在民间发展的重要代表。它是清道光九年(1829),湖南浏阳文士邱之桂以宫廷颁布的文庙祭孔乐谱为据而创制的一套在浏阳文庙祭祀孔子典礼上演奏的仪式音乐。其最大特征是“乐”和“礼”紧密结合,不同的礼仪程序配有不同的乐章,奏乐与行礼交替进行。本文通过查阅文献资料,并采访当年曾亲身演奏或观看过浏阳祭孔音乐的老先生,一方面详细梳理了浏阳祭孔音乐发展的历史脉络、资料收集及研究状况;另一方面则将之放入清代祭孔背景之下,比较它在乐器、乐舞、乐谱、乐律等方面与清宫廷祭孔音乐的异同,以探讨清朝宫廷祭孔制度对浏阳祭孔音乐所产生的影响,并初步探讨了浏阳祭孔音乐的产生与浏阳儒学背景之间的关系。通过研究可知,浏阳祭孔音乐在遵循宫廷祭孔制度的基础上亦有其创新之处。浏阳祭孔音乐的来源主要有三:一、清宫廷祭孔用乐,包括康熙《律吕正义》及乾隆朝颁定的用乐资料。二、山东曲阜祭孔用乐。三、以前两者为基础,邱氏所作的创新。
[Abstract]:The music of sacrificial Confucius is a part of ancient Chinese elegant music, which is played in the ritual of sacrificing Confucius. From the Western Han Dynasty, the music of sacrificial Confucius became an important part of the ancient palace music, and reached the peak of maturity in the Qing Dynasty. Liuyang sacrificial hole music is an important representative of the Qing Dynasty sacrifice hole music in the development of folk. It was created by Qiu Zhigui, a scholar of Liuyang, Hunan province, in 1829, a set of ritual music performed at the ceremony of sacrificing Confucius in Liuyang. Its biggest characteristic is that "music" and "ritual" are closely combined, different etiquette procedures are equipped with different movements, playing music and performing ritual alternately. Through consulting the literature and interviewing the old gentleman who had played or watched the music of Liuyang sacrificial hole in that year, on the one hand, it combed in detail the historical context, data collection and research status of the music development of Liuyang sacrificial hole; On the other hand, it was put under the background of the sacrifice hole in the Qing Dynasty, and the differences and similarities between the music of musical instruments, music and dance, music score, music and law were compared with those in the Qing Dynasty, in order to explore the influence of the system of the sacrificial holes of the Qing Dynasty on the music of Liuyang sacrifice holes. The relationship between the music of Liuyang sacrificial hole and the background of Liuyang Confucianism is discussed. According to the research, the music of Liuyang sacrificial hole also has its innovation on the basis of following the court sacrifice hole system. There are three main sources of music for Liuyang sacrifice: first, the Qing court used music for sacrificing the hole, including Kangxi Luzheng and Qianlong Dynasty. Second, Shandong Qufu sacrifice hole with music. Third, the former two as the basis for Qiu's innovation.
【学位授予单位】：湖南师范大学
【学位级别】：硕士
【学位授予年份】：2008
【分类号】：J609.2

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