本文選題：唐代　切入點(diǎn)：雅樂　出處：《武漢大學(xué)》2017年碩士論文

【摘要】：樂舞從來都不是獨(dú)立的一門藝術(shù),而是國家禮儀制度的一部分,雖然有部分娛樂的功能,但更重要的是,它是王朝秩序的穩(wěn)定劑和潤滑劑,以視聽的直觀感受宣示權(quán)威、展現(xiàn)秩序、傳遞價(jià)值觀。樂舞作為國家儀式的一部分,它的意義就不僅是美學(xué)上的,還有政治意涵。唐代是中國歷史上音樂文化發(fā)展的高峰時(shí)期,雅樂(ritual music)制度在經(jīng)歷了漢末至隋長達(dá)三百多年的混亂之后,終于在隋朝得到了一個(gè)初步的整備和統(tǒng)一,而唐代繼承了隋代的雅樂制度,并將其進(jìn)一步完善和加以創(chuàng)作。唐代雅樂舞包括祭祀舞樂和宴饗舞樂兩類,祭祀舞樂以文武二舞為代表,而宴饗雅樂則以"九部伎"和"坐立部伎"為代表。而唐代的文武舞經(jīng)過數(shù)次變動(dòng)和調(diào)整,自太宗朝制定之后,高宗朝便試圖改易,經(jīng)歷武后的陵替,最后在玄宗朝才形成最終的定制。而九部伎、二部伎則是隋唐時(shí)期宴饗雅樂的新創(chuàng)造,將四夷樂程序化和儀式化,并發(fā)展出了一系列的政治樂舞,使宴饗雅樂在娛樂的性質(zhì)之外,增加了深刻的政治內(nèi)涵。禮記云"樂與政通",樂舞制度的制定和行用,背后必然是政治因素在主導(dǎo),本文通過對(duì)唐代祭祀儀式中的"文武二舞",以及宴饗儀式中的九部伎、坐立部伎樂舞的考證作為出發(fā)點(diǎn),討論它們?cè)诟髯孕杏玫膬x式中的象征功能,考察它們?cè)趧?chuàng)制時(shí)被賦予的政治意義,以及在禮儀空間的構(gòu)建中所發(fā)揮的作用。祭祀儀式中的雅樂舞,和宴饗(宴會(huì))時(shí)的雅樂舞分別構(gòu)成了"天-君-臣民"與"君-臣民-四夷(minority nationality)-萬物"的禮儀秩序,即"以皇帝為中心的同心圓"。
[Abstract]:Music and dance have never been an independent art, but a part of the national etiquette system, although it has part of the function of entertainment, but more importantly, it is the stabilizer and lubricant of the dynasty order, declaring authority with audio-visual intuitionistic feelings. As part of the national ceremony, the significance of music and dance is not only aesthetic, but also political. The Tang Dynasty was the peak of the development of music and culture in Chinese history. After more than 300 years of chaos from the end of the Han Dynasty to the Sui Dynasty, the system of elegant music was finally prepared and unified in the Sui Dynasty, and the Tang Dynasty inherited the elegant music system of the Sui Dynasty. In the Tang Dynasty, there were two kinds of music: sacrificial dance and banquet dance, and the sacrificial dance was represented by Wenwu two dances. On the other hand, the banquet was represented by "Nine Kabuki" and "sitting Li-part Kabuki". After several changes and adjustments in the Tang Dynasty, after the formulation of the Taizong Dynasty, Gao Zong tried to change his position and went through the imperial mausoleum. Finally, it was only in the Xuanzong Dynasty that the final customization was formed. And nine pieces of kabuki and two pieces of kabuki were the new creation of banquet and elegant music in the Sui and Tang dynasties. The four Yi music was programmed and ritualized, and a series of political music and dance were developed. In addition to the nature of entertainment, it adds profound political connotations. In the book of Rites, "Music and political Communication", the formulation and practice of the music and dance system must be dominated by political factors. This paper discusses their symbolic functions in the ritual of sacrifice in the Tang Dynasty, as well as the nine pieces of jiuki in the banquet ceremony, and the textual research on the Jiyue dance in the sitting part. Examine their political significance when they were created, as well as their role in the construction of ceremonial space. The elegant dance of dinner (banquet) constitutes the ceremonial order of "Heaven-King-subject" and "King-subject-four Yi minity", that is, "concentric circle centered on the emperor".
【學(xué)位授予單位】：武漢大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2017
【分類號(hào)】：K242;K892.9

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