唐代大曲宫调理论的形成及其对东亚乐调发展的影响

Mode Formation of Daqu in Tang Dynasty and Its Influence on East Asia

唐代大曲所用的宫调是唐代宫廷燕乐用宫体系与方法的代表之一。它的形成有两个主要渠道:一为民间和少数民族音乐逐步雅化、仪礼化的演变,二为宫廷仪式音乐(或雅乐)逐步吸收民间或外族音调逐步俗化的演变。其乐调名有其时代和自身特点。它的用乐宫调在开始按照"一曲一宫"的方法,但在唐代中后期,开始有了转调和移调的手法。唐大曲的宫调对东亚诸国(尤其是日本)的乐调发展起了重要的影响,日本留存的大曲乐谱在名称上与之有相类之处,乐谱上存留的用调习惯也与中国古代文献记载中的大曲相类。本文运用比较音乐学的方法对其中的异同进行了比照,为进一步认识古代东亚乐调的历史演变提供了参照。

As a representative in mode systems of yan music (royal court music for banquet) in the Tang Dynasty,modes of music used in Daqu were mainly formed in two ways.First,they came from folk music as well as the music of ethnic minorities after refinement and formalization;second,they took shape following the vulgarization of ritual music in court (or ya music) after absorbing tones of folk or foreign music.With characteristics of the times and their own,Daqu was usually played with one piece sticking to one mod...