《五羊仙》大曲队舞释论

The Note and Comment On Daqu of Wu yang xian

朝鲜人郑麟趾等编《高丽史·乐志》的"唐乐"部分详细记载了北宋徽宗时传入朝鲜的七套"大曲",《五羊仙》乃其中之一;它较为完整地反映了北宋宫廷大曲队舞的表演形态,具有很高的史料价值;它还与广州的"五羊仙传说"有内在联系,其产生与传播则可能与十国时期南汉宫廷的教坊乐人有关。对《五羊仙》大曲的"曲本"作出注释和研究,不但可以修正过往学术史上的一些观点,亦有助于岭南音乐舞蹈史、岭南文化史之研究,还有助于辨别南北两宋大曲队舞的异同。

Wuyangxian was the one of seven ＂Daqu＂, which were introduced to Korea in period of Emperor Hui- zong of Song Dynasty, and it was recorded in Gaolishi, Yuezhi （Korean History of Music） written by Jeong In -ji （郑麟趾）. This piece preserved the complete performing form of Daqu in the court of the Northern song dynasty, and as an artifact, it has a very high historical value. The connotation of this piece was related to the Wuyangxian fairy tales, and its origin and propagation might be connected with musicians in Southern Han during the Five Dy- nasties period. The paper offers a connotation and analysis on the actual score of the Daqu piece. The work con- tained in this paper may be used to correct a number of misunderstandings on Daqu within academics, and this work may also help to enhance the quality of study in the dance and culture＇ history of Ling＇ nan areas, and in particular, it helps in differentiating the forms of Daqu in Northern and Southern of Song Dynasty