秦漢樂(lè)府制度研究
發(fā)布時(shí)間：2018-08-30 14:21
【摘要】： 本文通過(guò)追溯秦漢禮樂(lè)建設(shè)的歷史，采用立體的研究方法，深入考察了秦漢樂(lè)府制度的內(nèi)部結(jié)構(gòu)，著重探討了樂(lè)員、樂(lè)器、樂(lè)類(lèi)的來(lái)源、結(jié)構(gòu)以及形成等問(wèn)題，在此基礎(chǔ)上揭示秦漢時(shí)期樂(lè)府制度建設(shè)的歷史面貌。 “緒論”，回顧樂(lè)府制度研究的歷史，以此為基礎(chǔ)提出本文的中心問(wèn)題，并對(duì)文中所涉及的重要概念予以界定。 第一章“秦代樂(lè)府考論”，通過(guò)考察秦樂(lè)府職官制度建設(shè)的歷史背景，詳細(xì)探討了秦代樂(lè)府職官的建置、樂(lè)員的組成、樂(lè)器的制作以及所含音樂(lè)品類(lèi)諸問(wèn)題，比較全面地勾勒出秦代樂(lè)府制度建設(shè)的歷史面貌，揭示了樂(lè)府制度的產(chǎn)生在中國(guó)音樂(lè)制度發(fā)展史及中國(guó)樂(lè)府文學(xué)史上的重要地位和意義。另外，還討論了秦代太府、樂(lè)府的二分結(jié)構(gòu)，指出造成二者在音樂(lè)管理上的差異的根本原因；重點(diǎn)對(duì)樂(lè)府封泥“外樂(lè)”品及外祭之事 進(jìn)行研究，揭示了郊祭樂(lè)、宗廟樂(lè)在管理上的分野。 第二章“西漢樂(lè)府的建置”，著重分析和討論了漢初太樂(lè)的職能以及樂(lè)府簡(jiǎn)置的原因。在漢代禮樂(lè)制度建設(shè)的背景下，考察武帝“立樂(lè)府”的歷史含義，認(rèn)為它之所以成立與以下諸事有關(guān)：一、武帝興郊祀之禮，二、建立“采詩(shī)”制度，三、司馬相如等人造為詩(shī)賦，四、置協(xié)律都尉，五、擴(kuò)建樂(lè)府，六、定百官制度。還考察了昭、宣、元、成、哀、平時(shí)期樂(lè)府制度的建置情況，并對(duì)新莽時(shí)期樂(lè)府改制做了詳細(xì)論述。 第三章“漢代的‘采詩(shī)’之官與‘采詩(shī)’”。本文認(rèn)為，由於文化環(huán)境的變遷，周代即已出現(xiàn)的“采詩(shī)”之官，其職能在不同的歷史階段有不同型態(tài)的表現(xiàn)。大體來(lái)說(shuō)：周代重視“采怨制之詩(shī)”，秦則重視“求代語(yǔ)、歌戲”，西漢時(shí)重視“采風(fēng)俗、歌謠”，至東漢則重視“舉謠言”。西漢之際隨著武帝“立樂(lè)府”，“采詩(shī)”活動(dòng)得以在“風(fēng)俗使者”的名義下進(jìn)行，其特點(diǎn)表現(xiàn)為：因民而作、追俗為制，新聲娛樂(lè)、虛飾頌聲，“舉謠言”以察吏過(guò)。并認(rèn)為在“采詩(shī)”的名義產(chǎn)生了漢代最早的一批樂(lè)府音樂(lè)體裁、樂(lè)府音樂(lè)文學(xué)體裁，從這個(gè)意義上說(shuō)，漢代“采詩(shī)”具有“娛樂(lè)”與“觀風(fēng)”的雙重功能。至於漢代“采詩(shī)”之風(fēng)盛行的原因，本文認(rèn)為，它與漢代“同姓封侯”及助祭制度密切相關(guān)�？梢赃@么說(shuō)，采擇地方歌詩(shī)、風(fēng)俗、謠言，一方面反映了中央政府對(duì)地方勢(shì)力的重視，另一方面也是中央政府監(jiān)督地方勢(shì)力的一種手段。 第四章“論《漢書(shū)·藝文志》所載西漢歌詩(shī)的淵源”(本章與王昆吾師合作)，在詳細(xì)分析《漢書(shū)·藝文志》所錄歌集之地域特徵，在此基礎(chǔ)上，著力探求西漢“歌詩(shī)”的淵源。認(rèn)為《漢書(shū)·藝文志》所錄歌集大致可分為兩種：采集之詩(shī)，造作之詩(shī)。如果說(shuō)前者在“采詩(shī)”的名義得以進(jìn)行，後者則是一種自覺(jué)的創(chuàng)作行為，二者共同構(gòu)成西漢樂(lè)府歌詩(shī)主要來(lái)源。并進(jìn)一步追溯諸歌集在地域文化上的傳承性，認(rèn)為諸歌集所涉地域，既與劉姓王的轄域相關(guān)，又與劉姓先祖棲居之地密切聯(lián)系。 第五章“掖庭女樂(lè)考”，本章旨在討論兩漢時(shí)代的掖庭管理制度，著重分析 了掖庭女梁的功能、性筒及主要的音梁品頰。本文爵焉，春秋以降“覆壤梁崩” 女梁的主要功能在放娛梁。漠具之俊，，隨著覆梁制度建殷的加強(qiáng)，以掖庭女梁焉 代表的宮廷女梁的性矍逐漸登生由娛梁功能向瞪曦功能的卿樊，即大量掖庭女梁 陰始參予祭祀、房中、朝舍、燕餐等覆徽活勤，道是促準(zhǔn)漠代女架日翅繁盛的主 要勤力，也是漠代帝王重硯掖庭女梁建殷的主要原因。另外，受楚地巫祭之夙的 影譬，掖庭女梁也參予了宮廷內(nèi)外的巫祭歌舞之事，退也是促使宮廷女梁登展的 重要因素。本章遺指出相和歌、清商三稠曲是掖庭女梁中最主要的音梁品顴，二 者既輿漠代宮廷梁府覆曦之梁相珊保，又是宮廷娛梁音梁的代表品頰，同峙也是 蒲王、列侯、蒲卿、士夫、豪吏、富民女伎之梁的主要成分。業(yè)甜焉由放掖庭女 梁的繁盛，影髻了中下食族蓄伎之夙的形成，道是促淮食族及民簡(jiǎn)梁府音梁迅猛 登展主要因素。 第六章“哀帝能梁府考瀚”。本章采用不同的分頰鏢舉，分別探對(duì)了西漠梁 工的來(lái)源和粗成、西漠梁工的桔措和性黃、西漠案府的音梁品頻。首先排列漠代 割姓先祖稽保及其在攫徙遇程中的棲居之地，通遇封梁工地域特徽的分析，得出 了漠代梁府音梁重視“晉、楚之臀”的看法，同峙爵焉遏頰梁工是被有意“采 擇”而來(lái)。指出漠代杭治者“制橙作梁”峙大致遵循四涸原具U:一、承粗先王之 梁，二、追述祖宗事躋，三、重祝同姓封王，四、尊崇地方夙俗制度。業(yè)韶焉通 四涸原RlJ具有普遍的意羲，焉臉代杭治者制橙作梁峙所遵徙。 本章又捉案工的管理及其音梁轍能的角度，將“哀帝能梁府”中的梁工分焉 鼓具、琴工、瑟工等二十三撞頰別，通遇封相陰音梁艱象的甜蕭，忽焉漠代的梁 府棧橫宵嚓上穗掌宮廷梁事，梁府音梁艘現(xiàn)了鈉郊祀、宗廓、房中、軍梁焉一艘 的特徽;同峙韶焉夙俗之梁遭入梁府俊握艇了一涸雅化的遇程，主要通遇在音梁 表現(xiàn)形式上采用“馳聘鄲衡之臀，曲格而奏雅”以及使用“德音”之器而使“文 矍相攤”的手段來(lái)育現(xiàn)。在梁府音梁雅化的遇程中，形成了登富多彩的梁府文 化:每一煩表演人具都代表了一幢表演方式，每一桓表演方式則代表了梁府文
[Abstract]:By tracing back the history of the construction of rites and music in the Qin and Han Dynasties, this paper makes an in-depth study of the internal structure of the Yuefu system in the Qin and Han Dynasties, focusing on the sources, structure and formation of musicians, musical instruments and music categories, and on this basis reveals the historical outlook of the construction of Yuefu system in the Qin and Han Dynasties.
"Introduction" reviews the history of Yuefu system research, and puts forward the central issues of this paper, and defines the important concepts involved in this paper.
Chapter one is "the textual research on Yuefu in Qin Dynasty". By investigating the historical background of the construction of Yuefu official system in Qin Dynasty, this paper discusses in detail the construction of Yuefu official system, the composition of musicians, the production of musical instruments and the types of music contained in it, and outlines the historical features of Yuefu system construction in Qin Dynasty, and reveals the emergence of Yuefu system in Qin Dynasty. In addition, the paper also discusses the dichotomy structure of Taifu and Yuefu in Qin Dynasty, and points out the fundamental reasons for the differences in music management between them; it focuses on the study of the "exotic music" and the exotic sacrifices of Yuefu, revealing the exotic sacrificial music and the temple music in the management. The division of the field.
In the second chapter, the construction of Yuefu in the Western Han Dynasty, the function of Taiyue in the early Han Dynasty and the reasons for the simplification of Yuefu are analyzed and discussed. Sima Xiangru and others made poems and fu. Fourth, set up the Yuefu system, expanded the Yuefu system, and established the Yuefu system.
The third chapter is "the official of collecting poems and the official of collecting poems in the Han Dynasty". This paper holds that due to the change of cultural environment, the official of collecting poems appeared in the Zhou Dynasty, whose functions have different forms in different historical stages. During the Western Han Dynasty, the activities of "collecting poems" were carried out under the name of "heralds of customs", characterized by: composing for the sake of the people, pursuing the custom as a system, new voices of entertainment, disguising the praises, and "rumors" in the name of "collecting poems". The earliest music genres and literature genres of Yuefu in the Han Dynasty are described. In this sense, poetry collecting in the Han Dynasty has dual functions of "entertainment" and "watching the wind". As for the reason why poetry collecting prevailed in the Han Dynasty, this paper holds that it is closely related to the system of "feudal princes with the same surname" and sacrificial AIDS in the Han Dynasty. Poems, customs and rumors, on the one hand, reflect the central government's attention to local forces, on the other hand, the central government is also a means of monitoring local forces.
Chapter Four "On the Origin of Songs and Poems in the Western Han Dynasty" in "Han Shu Yi Wen Zhi" (this chapter, in cooperation with Wang Kunwu), analyzes in detail the regional characteristics of the songs recorded in "Han Shu Yi Wen Zhi". On this basis, the author tries to explore the origin of "Songs and Poems" in the Western Han Dynasty. If the former is carried out in the name of "collecting poems", the latter is a conscious creative act. Both of them constitute the main source of Yuefu poems in the Western Han Dynasty. Department.
The fifth chapter is "examination of women's music in the court." this chapter aims to discuss the management system of the court in the Han Dynasty.
In the spring and Autumn period, the "cover the soil and beam collapse".
The main function of the female Liang is to play the role of Liang Liang. With the strengthening of the overlying beam system, the king of the court of the moon, Liang Yan, a woman in the court.
The sexuality of the representative court girders gradually emerged from the function of entertaining girders to the function of glaring, that is, a large number of Yeting girders.
Yin is the first to participate in sacrifices, the house, the house, the swallow meal and so on.
Diligence is also the main reason for Liang Jianyin, who is the king of the imperial court.
For example, Yeting Liang also participated in witch sacrifices, songs and dances inside and outside the palace, and retreated to promote the display of the court Liang.
An important factor. In this chapter, it is pointed out that the Qing Dynasty three thick tune is the most important sound beam, and the two is the song.
They were not only the Liang Xiangshan Bao, who was the representative of the Liang Yinliang, but also the face of the Liang Yinliang, who was enjoyed by the court.
Pu Wang, Li Hou, Pu Qing, Shi Fu, Hao Zheng, the main ingredient of the rich women's manual.
The prosperity of the Liang Dynasty has cast a shadow on the formation of the Zhongxia Cannibal People's Happiness Storage. The Tao promotes the rapid development of the Huai Cannibal People and Liang Fu Yin Liang in the folk bamboo slips.
Main factors of exhibition.
The sixth chapter is "Kaili nailang Fu Kao Han".
The origin and thickness of the work, the orange and the Yellow Sea, the sound and beam frequency of the West desert case.
Through the analysis of the special emblem of Fengliang Gonggong area, the author draws a conclusion that the surname-cutting ancestor's inspection and the place where he lived in the course of his migration
The idea of "the buttocks of Jin and Chu" was emphasized by the Yin Liang Liang of the dynasty.
It is pointed out that the "orange making beam" of the governor of the Dai Dynasty generally followed the four dry U: with the former king.
Liang, two, recounts the ancestral events, ranks three, remembers the same surname Wang Feng, and four, respects the local custom system.
Four the RlJ of dry land has a general meaning.
This chapter also focuses on the management of the case workers and their angles of sound, beam and rutting.
Drums, piano workers, serrants and so on, twenty-three bumps into the cheeks, and meets the sweet Hsiao of the Yin Yin Liang and the hard elephant.
On the night of the house, the palace of the court and the Liang Dynasty, Liang Fu, Liang Liang, appeared in the suburban sacrifices, the Zong Kuo, the Fang Zhong, and the army Liang Yanyi.
An emblem of elegance and refinement, especially in Yinliang.
In the form of expression, the writer uses "the buttocks of the temple, the style of the melody and the elegance" as well as the instrument of "De Yin" to make "Wen"
In the process of elegance of Liang Fu Yin Liang, Liang Fuwen became rich and colorful.
Hua: every annoying performance person represents a performance way, and every Hwan performance means Liang Fuwen.
【學(xué)位授予單位】：揚(yáng)州大學(xué)
【學(xué)位級(jí)別】：博士
【學(xué)位授予年份】：2002
【分類(lèi)號(hào)】：K232
本文編號(hào)：2213331
[Abstract]:By tracing back the history of the construction of rites and music in the Qin and Han Dynasties, this paper makes an in-depth study of the internal structure of the Yuefu system in the Qin and Han Dynasties, focusing on the sources, structure and formation of musicians, musical instruments and music categories, and on this basis reveals the historical outlook of the construction of Yuefu system in the Qin and Han Dynasties.
"Introduction" reviews the history of Yuefu system research, and puts forward the central issues of this paper, and defines the important concepts involved in this paper.
Chapter one is "the textual research on Yuefu in Qin Dynasty". By investigating the historical background of the construction of Yuefu official system in Qin Dynasty, this paper discusses in detail the construction of Yuefu official system, the composition of musicians, the production of musical instruments and the types of music contained in it, and outlines the historical features of Yuefu system construction in Qin Dynasty, and reveals the emergence of Yuefu system in Qin Dynasty. In addition, the paper also discusses the dichotomy structure of Taifu and Yuefu in Qin Dynasty, and points out the fundamental reasons for the differences in music management between them; it focuses on the study of the "exotic music" and the exotic sacrifices of Yuefu, revealing the exotic sacrificial music and the temple music in the management. The division of the field.
In the second chapter, the construction of Yuefu in the Western Han Dynasty, the function of Taiyue in the early Han Dynasty and the reasons for the simplification of Yuefu are analyzed and discussed. Sima Xiangru and others made poems and fu. Fourth, set up the Yuefu system, expanded the Yuefu system, and established the Yuefu system.
The third chapter is "the official of collecting poems and the official of collecting poems in the Han Dynasty". This paper holds that due to the change of cultural environment, the official of collecting poems appeared in the Zhou Dynasty, whose functions have different forms in different historical stages. During the Western Han Dynasty, the activities of "collecting poems" were carried out under the name of "heralds of customs", characterized by: composing for the sake of the people, pursuing the custom as a system, new voices of entertainment, disguising the praises, and "rumors" in the name of "collecting poems". The earliest music genres and literature genres of Yuefu in the Han Dynasty are described. In this sense, poetry collecting in the Han Dynasty has dual functions of "entertainment" and "watching the wind". As for the reason why poetry collecting prevailed in the Han Dynasty, this paper holds that it is closely related to the system of "feudal princes with the same surname" and sacrificial AIDS in the Han Dynasty. Poems, customs and rumors, on the one hand, reflect the central government's attention to local forces, on the other hand, the central government is also a means of monitoring local forces.
Chapter Four "On the Origin of Songs and Poems in the Western Han Dynasty" in "Han Shu Yi Wen Zhi" (this chapter, in cooperation with Wang Kunwu), analyzes in detail the regional characteristics of the songs recorded in "Han Shu Yi Wen Zhi". On this basis, the author tries to explore the origin of "Songs and Poems" in the Western Han Dynasty. If the former is carried out in the name of "collecting poems", the latter is a conscious creative act. Both of them constitute the main source of Yuefu poems in the Western Han Dynasty. Department.
The fifth chapter is "examination of women's music in the court." this chapter aims to discuss the management system of the court in the Han Dynasty.
In the spring and Autumn period, the "cover the soil and beam collapse".
The main function of the female Liang is to play the role of Liang Liang. With the strengthening of the overlying beam system, the king of the court of the moon, Liang Yan, a woman in the court.
The sexuality of the representative court girders gradually emerged from the function of entertaining girders to the function of glaring, that is, a large number of Yeting girders.
Yin is the first to participate in sacrifices, the house, the house, the swallow meal and so on.
Diligence is also the main reason for Liang Jianyin, who is the king of the imperial court.
For example, Yeting Liang also participated in witch sacrifices, songs and dances inside and outside the palace, and retreated to promote the display of the court Liang.
An important factor. In this chapter, it is pointed out that the Qing Dynasty three thick tune is the most important sound beam, and the two is the song.
They were not only the Liang Xiangshan Bao, who was the representative of the Liang Yinliang, but also the face of the Liang Yinliang, who was enjoyed by the court.
Pu Wang, Li Hou, Pu Qing, Shi Fu, Hao Zheng, the main ingredient of the rich women's manual.
The prosperity of the Liang Dynasty has cast a shadow on the formation of the Zhongxia Cannibal People's Happiness Storage. The Tao promotes the rapid development of the Huai Cannibal People and Liang Fu Yin Liang in the folk bamboo slips.
Main factors of exhibition.
The sixth chapter is "Kaili nailang Fu Kao Han".
The origin and thickness of the work, the orange and the Yellow Sea, the sound and beam frequency of the West desert case.
Through the analysis of the special emblem of Fengliang Gonggong area, the author draws a conclusion that the surname-cutting ancestor's inspection and the place where he lived in the course of his migration
The idea of "the buttocks of Jin and Chu" was emphasized by the Yin Liang Liang of the dynasty.
It is pointed out that the "orange making beam" of the governor of the Dai Dynasty generally followed the four dry U: with the former king.
Liang, two, recounts the ancestral events, ranks three, remembers the same surname Wang Feng, and four, respects the local custom system.
Four the RlJ of dry land has a general meaning.
This chapter also focuses on the management of the case workers and their angles of sound, beam and rutting.
Drums, piano workers, serrants and so on, twenty-three bumps into the cheeks, and meets the sweet Hsiao of the Yin Yin Liang and the hard elephant.
On the night of the house, the palace of the court and the Liang Dynasty, Liang Fu, Liang Liang, appeared in the suburban sacrifices, the Zong Kuo, the Fang Zhong, and the army Liang Yanyi.
An emblem of elegance and refinement, especially in Yinliang.
In the form of expression, the writer uses "the buttocks of the temple, the style of the melody and the elegance" as well as the instrument of "De Yin" to make "Wen"
In the process of elegance of Liang Fu Yin Liang, Liang Fuwen became rich and colorful.
Hua: every annoying performance person represents a performance way, and every Hwan performance means Liang Fuwen.
【學(xué)位授予單位】：揚(yáng)州大學(xué)
【學(xué)位級(jí)別】：博士
【學(xué)位授予年份】：2002
【分類(lèi)號(hào)】：K232
【引證文獻(xiàn)】
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