论七、九、十部乐与隋唐政治、音乐之关系

Concerning the Relation of Qibuyue,Jiubuyue,Shibuyue with Politics and Music during the Sui and Tang Dynasty

七、九、十部乐与隋唐政治关系密切。就各部乐的演奏次序而言,隋唐两朝前期七、九、十部乐多按"清乐型部乐→胡乐型部乐"的次序演奏,重在突出政治上的华夷之别。两朝后期则多按"胡乐型部乐→清乐型部乐"的次序演奏,其政治功能明显让位于娱乐功能;就演奏频次而言,在隋唐国力上升时期,七、九、十部乐演奏频繁,反之,演奏频次明显减少,诸部乐演奏频次可视为考虑国家强弱的风向标。七、九、十部乐又属于隋唐音乐体系中重要的一支。就发展历程而言,七、九、十部乐的发展历程与唐大曲的发展历程关系密切。隋唐七、九、十部乐多经历了"套曲→大曲"的发展历程,这也是唐大曲形成的一种模式;就曲式结构而言,七、九、十部乐以"歌、舞曲→解曲"的曲式结构为主,这无疑是唐大曲"散拍器乐曲或歌舞曲→缓拍器乐曲或歌舞曲→促拍器乐曲或歌舞曲"曲式结构的一个重要渊源。

The relation between Qibuyue, Jiubuyue, Shibuyue and politics was that, in the early stage of Sui and Tang Dynasty, the music playing order of Qibuyue, Jiubuyue, Shibuyue was from Qingshang music to western regions music, in order to show the difference between the Han nationality and Hu nationality ; on the contrary, later stage of Sui and Tang Dynasty, the music playing order was from western regions music to Qingshang music, the political function was replaced by entertaining function. As the national power grows, the number of musical performance has also increased, and vice versa. The relation between Qibuyue, Jiubuyue, Shibuyue and music was that, the developing process was from cyclical form to Daqu, this is an important model of Tang Daqu. The main musical form is from song and dance music to Jiequ, and it is also the important origin of Tang Daqu＇ s musical form which is from Sanpai instrumental or dance music, Huanpai instrumental or dance music to Cupai instrumental or dance music.