唐代宮廷燕樂的變遷與發展

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題名:	唐代宮廷燕樂的變遷與發展 The Transformation And Development of Court Yanyue In Tang Dynasty
作者:	薛幼貞
貢獻者:	史學系
關鍵詞:	俗樂讌樂燕樂教坊梨園安史之亂 Su Yue Yan Yue Chiaofang Liyuan the An–Shi Rebellion
日期:	2016
上傳時間:	2016-01-26 13:53:47 (UTC+8)
摘要:	近年來對唐代燕樂的研究中，多偏重宴饗樂、或是利用俗樂改造成雅樂的過程，但除了在音樂屬性打轉外，另一個值得關注的重點即是在長時段文化的脈絡觀察俗樂的發展，所催生唐代璀璨宮廷燕樂，本文採取中原華夏系、四夷系以及散樂百戲間的取徑，探討自漢朝古義而成讌樂，自此狹義燕樂就以讌樂稱之；而來自俗樂所發展之宴饗或祭祀禮儀之樂則為廣義的燕樂。漢魏晉至隋唐，宮廷俗樂活動隨著音樂機構規模的穩固而逐漸有系統地龐大起來，到了盛唐時期因國家事務繁多，必須有新的人事結構調整，走向新的正軌；開元後使職正式運作，不需要通過具體辦事部門，而直接由皇帝直接任命，教坊使、梨園使亦在此背景下孕育而生。唐代宮廷俗樂俳優雜伎、戲曲、歌舞的逐漸攀升以及在特定王權介入下形成過渡的禮儀屬性音樂，都藉由帶有音樂使職的中官管理。但是這一情況繁榮不過四十年，安史之亂造成教坊規模的大幅縮減，又在政治改革上，經過永貞革新、甘露之變的失敗以及黃巢之亂的致命一擊，對宮廷燕樂活動的影響十分顯著，梨園樂工雖在中晚唐尚有記載，但也逐漸遭到縮減裁撤的命運；因此，安史之亂後雅樂徒具形表的架構下逐漸衰退簡陋，而反觀宮廷宴饗因審美趣味的提升而變得更有娛樂性，著重於節度使、南蠻外夷的獻樂以及唐自身的教坊也陸續走向合併。此外新的宮廷燕樂如散樂、本土即興劇、歷史劇多為中原的脈絡相傳，並非全然為胡漢共融之新俗樂。 In recent years, the studies of the yanyue in Tang Dynasty often emphasize on banquet music or the process of the Su Yue changing into Ya Yue. Yet other than lingering on the music attribute, another important emphasis is that under the long-term cultural context how the development of Su Yue help achieve the resplendent court Yan Yue of the Tang Dynasty. This article assumed the viewpoint of China Cathay(中原華夏), Four Quarters(四夷)and San Yue Hundred Opera(散樂百戲) to discuss the narrow sense of Ya Yue(燕樂) written as Ya Yue(讌樂) which was formed from the old tradition of Han Dynasty; and the broad sense of Ya Yue which was come from the banquet music transforming from Su Yue, or from the music on the ritual for offering sacrifices to gods or ancestors. Along with the increasing stability of the music institute, the activity of Court Su Yue had a gradual and systematical grow through Han, Wei, Jin and to Sui Tang. Due to the manifolds of the Sheng Tang empire（盛唐帝國）,the personnel structure was to adjust for a correct new track. After the Kaiyuan era, the envoys functioned formally and was assigned directly by the emperor himself in stead of some administrations. Till then, the Chiaofang envoy(教坊使) and the Liyuan envoy（梨園使）were born. Both the transitional ritual musics influenced by certain royalty and the Fayu Zaji（俳優雜伎）,operas, musical dances of Court Su Yue in Tang Dynasty were governed by Zhong Guen(中官) who was also titled as music envoy. Yet the previous prosperity had last less than 40 years, for the An–Shi Rebellion led the Chiaofang to an enormous shrink. And the Court Yan Yue was greatly affected by the failure of political reforms like the Yongzhen Reform and the Ganlu Incident and the deadly event─Huang Chao Chaos. Though the Liyuan servants were documented during the Mid-late Tang Era, yet they couldn’t avoid the decay. Therefore, the Ya Yue was decaying and lack of substance while the Court banquet music was getting more entertaining due to the advance of aesthetics. The greeting music for Jie Do envoys and foreigners gradully merged with the Chiaofang system. In addition, the brand new Court Yan Yue like San Yue(散樂), local impromptus and historical operas were mostly inherit the China Cathay tradition instead of the new Su Yue which was the integration of Hu Han culture.
顯示於類別:	[史學系暨研究所] 博碩士論文

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