本文關(guān)鍵詞： 唐代音樂 法曲 音樂形式 起源 流變　出處：《武漢音樂學(xué)院》2006年碩士論文　論文類型：學(xué)位論文

【摘要】： 法曲作為一種獨(dú)特的歌舞音樂體裁,出自清商而始于隋,在歷經(jīng)了中原音樂的沿革、外來音樂的吸收與中外音樂的融合之后,到唐代達(dá)到了其發(fā)展的鼎盛時(shí)期。之后,法曲作為唐代宮廷燕樂的一種重要形式開始日益衰頹,演奏法曲機(jī)構(gòu)已解散,梨園弟子大量流入民間。但是,一個(gè)時(shí)代的音樂文化面貌一旦形成,不會(huì)由于政治、經(jīng)濟(jì)的衰落立即消失殆盡,而是繼續(xù)在一定范圍和階段內(nèi)延續(xù),或形成某種新的音樂形式,或成為基因注入其它音樂形式。法曲不僅對(duì)我國唐以后民族音樂的發(fā)展產(chǎn)生過重要影響,而且對(duì)東亞鄰國民族音樂文化的發(fā)展也起到了積極的推動(dòng)作用,尤其是日本雅樂和朝鮮的鄉(xiāng)樂。 本文主要運(yùn)用史學(xué)和文獻(xiàn)學(xué)相結(jié)合的研究方法,以歷史為主線,文獻(xiàn)史料為基礎(chǔ),以唐代法曲的起源與流變?yōu)榍腥朦c(diǎn),闡釋其發(fā)展脈絡(luò),探究其歷史文化的軌跡及其成因和所產(chǎn)生的影響。 本論文主要包括三個(gè)部分:第一部分,法曲的藝術(shù)淵源。對(duì)于法曲的藝術(shù)淵源,筆者在諸多論述的基礎(chǔ)上,運(yùn)用歷史學(xué)和文獻(xiàn)學(xué)的研究方法,系統(tǒng)論述了“法曲系出自清商,以清商為基礎(chǔ)再融合部分的道曲佛曲以及若干外族樂(胡樂)而成的一種新樂”;第二部分,法曲在唐代的發(fā)展。其脈絡(luò)為,初唐法曲逐漸受到重視,盛唐法曲處于全面繁榮的狀態(tài),“安史之亂”后法曲逐漸衰落。其中還論及法曲的風(fēng)格特點(diǎn),法曲的曲式結(jié)構(gòu)、舞蹈、樂器伴奏的變化,法曲在唐代燕樂歌舞中的地位,唐代法曲與大曲的關(guān)系等;第三部分,法曲的遺存與流布。主要考證唐代法曲在宋代的遺存及在日本、朝鮮等國的流布情況。
[Abstract]:As a unique musical genre of song and dance, French music originated from the Qing Dynasty and began in the Sui Dynasty. After the evolution of the Central Plains music, the absorption of foreign music and the fusion of Chinese and foreign music, it reached the peak of its development in the Tang Dynasty. As an important form of Yan music in the Tang Dynasty, the legends have been disbanded, and the disciples of Li Yuan have entered the people in large numbers. However, once the musical and cultural outlook of an era is formed, it will not be due to politics. The decline of the economy immediately disappeared, but continued within a certain range and stage, or formed a new form of music, It not only had an important influence on the development of national music after Tang Dynasty, but also played a positive role in promoting the development of national music culture in neighboring countries of East Asia. In particular, the Japanese Ya Le and Korea's rural music. This paper mainly uses the research method of combining historiography and philology, taking the history as the main line, the literature historical data as the foundation, taking the origin and the evolution of the Tang Dynasty's Fa qu as the breakthrough point, explains its development vein. Explore the track of its history and culture, its causes and its impact. This thesis mainly includes three parts: the first part, the artistic origin of the French qu. On the basis of many expositions, the author systematically discusses "the Fa qu system originated from the Qing Dynasty and Shang Dynasty" by using the research methods of history and philology. The second part, the development of the Fa qu in the Tang Dynasty, the context of which was gradually attached importance to in the early Tang Dynasty, was a new kind of music formed by the Daoqu Buddhism and some foreign music (Hu Le) based on the re-amalgamation of the Qing Shang Dynasty and Shang Dynasty, the second part of which was the development of the Fa qu in the Tang Dynasty. In the prosperous Tang Dynasty, the French music was in a state of full prosperity. After the Anshi Rebellion, the French music gradually declined. It also discussed the style characteristics of the French music, the structure of the French music, the changes of the dance and the accompaniment of musical instruments, and the position of the French music in the Yan music and dance of the Tang Dynasty. The third part is about the remains and distribution of the legends in the Tang Dynasty and in Japan, Korea and other countries.
【學(xué)位授予單位】：武漢音樂學(xué)院
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2006
【分類號(hào)】：J609.2

【引證文獻(xiàn)】

相關(guān)期刊論文 前1條

1 朱玉葵;;論白居易與法曲的發(fā)展與傳承[J];作家;2010年12期

相關(guān)碩士學(xué)位論文 前4條

1 楊潔;隋唐排簫初探[D];天津音樂學(xué)院;2012年

2 張曉潔;永濟(jì)道情調(diào)查與研究[D];山西師范大學(xué);2012年

3 陳朝霞;胡樂對(duì)唐宋詞的隱性影響[D];首都師范大學(xué);2008年

4 邢鑫;中國歷史上的法曲及其曲目的考察[D];上海音樂學(xué)院;2012年

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本文編號(hào)：1554138