明初教坊制度考略

A Research on the Jiaofang(教坊) System in the Early Ming Dynasty

宋元以来的雅俗之争直接导致了明初礼乐官署设置上的革新,即太常寺地位的下降和教坊司的升格,并将二者以祭神和娱人分,太常领祭祀雅乐,教坊掌宴飨朝会乐,辽金元以来乐署职司的冗杂与音乐的雅俗混杂乃肃然划一。在此过程中,教坊司正式取代太常,成为明初礼乐机构的核心。以教坊司为中心重建礼乐系统,自京师至地方,逐渐形成以"宫廷/藩府/州府——酒楼——勾栏——院"为一体的演剧场所,力图将乐工们自宋元以来形成的一应演剧方式都加以制度化,以置于朝廷严格的控制之中,成为朝廷礼乐制度之一环。于是,教坊司、太常司、钟鼓司具体职掌的变化及其地位的升降,富乐院的普及与丽春院的有无,南京御勾栏与十六楼的隆盛与衰微,都成为我们进一步发明有明乐制及其历史与精神意义的重要前提。

The debates between refined and pop music since the Song and Yuan Dynasty directly led to the reformation of the ritual and musical structure in the early Ming Dynasty,especially the decline of Taichang Si( 太常寺) and the upgrade of Jiaofang Si( 教坊司). In this process,Jiaofang Si gradually displaced Taichang Si as the core of the ritual and music institution,so the Ming government was able to put the performance of pop music( e. g. drama,dramatic songs,non-dramatic songs) into the state musical system and control it strictly. Therefore,studying the functional changes of the musical departments like Jiaofang Si,Taichang Si and Zhonggu Si( 钟鼓司),the spreading of Fule Yuan( 富乐院),the rise and decline of Nanjing Royal oulan( 御勾栏) and sixteen restaurants( 十六楼),will lay good foundations of the further research on the historical and ideological significance of musical institution in the Ming Dynasty.