论文部分内容阅读
盛唐本来就是一个音乐高潮。当时传入的各种异国曲调和乐器,如龟兹乐、天竺乐、西凉乐、高昌乐,等等,融合传统的“雅乐”、“古乐”,出现了许多新创造。从宫廷到市井,从中原到边疆,从太宗的“秦王破阵”到玄宗的“霓裳羽衣”,从急骤强烈的跳动到徐歌曼舞的轻盈,正是那个时代的社会氛围和文化心理的写照。“自破阵舞以下,皆擂大鼓,杂以龟兹之乐,声震百里,动荡山岳。”“惟庆善乐独用西凉乐,最为闲雅。”或武或文,或豪壮或优雅,正如当时的边塞诗派和田园诗派一样。这些音乐歌舞不再是礼仪性的典重主调,而是人世间的欢快心音。
Sheng Tang has always been a musical climax. At that time, various exotic tunes and musical instruments introduced at the time, such as Kuchai, Tianyi Le, Xiliangle, Gaochangle, etc., merged with the traditional “Ya Le” and “Ancient Music”, and many new creations emerged. From the palace to the marketplace, from the Central Plains to the frontiers, from the Taizong’s “Qinwangchaozhen” to Xuanzong’s “Glamorous Feathercoat”, from the sudden strong beat to the lightness of the Xugeman Dance, it is the social atmosphere and cultural psychology of that era. Portrayal. “Since the breaking of the dance, there are drums and gongs, mixed with the pleasures of the chaotic world, the sound is loud and violent, and the mountains are turbulent.” “But Qing Shan Le alone uses Xiliang music, and it is most elegant.” Or martial or literary, or mighty or Elegance, just like the frontier poets and pastoralists at the time. These musical songs and dances are no longer the ceremonial keynotes, but the joyful voices of the human world.