一带流动的音乐风景——隋唐西域音乐与中国性的体现

A Belt of Moving Soundscapes-Musics in the West Regions in the Sui and Tang Times and Their Chineseness

魏晋南北朝以降,西域音乐进入中原,"琵琶及当路,琴瑟殆绝音",雅乐崩毁、钟磬息音,"新声奇变"的胡乐广受赏爱,造就了隋唐音乐的繁华盛景。本文以"一带"——丝绸之路经济带音乐文化的流动为研究对象,探究在这样百花齐放、铿锵镗鞳、洪心骇耳的胡乐声中,中华文化的母体如何吸纳、融会这些异邦之乐,将之成功转化为"盛世之音"。本文提出的关键因素,即中华文化恒久不变的"中国性"(Chineseness)。本文首先探看音乐源头的西域地理文化,其次梳理魏晋南北朝迄于隋唐输入中国的西域音乐。第三部分则由乐部、乐律两个层面,分析这些西域之乐如何被收编融入华夏旧乐。本文指出,由乐部制度的生成来看,各种进入中国的西域音乐,北周时期以《周礼》"四夷乐"的概念统领之、架构之,由此奠定隋唐乐部的基础,乐部的内容是西域音乐,而其核心却是先秦典章制度。再由乐律的协调来看,开皇乐议虽然以龟兹乐工苏祗婆的胡琵琶理论为论辩焦点,但乐议要角沛国公郑译却以胡琵琶实践先秦旋宫转调的八十四调,探求"随月用律"的可能,以推动胡乐与先秦音乐理论相结合。此二者——先秦的典章制度、先秦的音乐理论,在胡乐大盛的时代依旧能够主导胡乐在中国的演化,使之与华夏之乐融合,即本文提出的恒长不变的"中国性"。

From the 3rd up to the 6th century on,the musics of the West Regions entered Central China along the Silk Road,widely popularized to such an extent as nearly over whelming traditional musicof Han people. However, it was these new exotic musics that createdthe flourishing soundscapes in the Sui and Tang times（6th to 9th century）.This es say, targeting the prosperity of musical cultures along the economic belt of the Silk Road, explores how Chinese culture, by means of absorbing and blending those alien musics, succeeded in transforming the＂intruders＂into the sounds of those heydays.A key element for the success is the everlasting invariable Chineseness of Chinese culture. The paper first tackles the West Regions＇ geographical culture as the sources of music,then sorts out the West Regions~ musics imported between the 3rd and the 9th centu ry,and finally from the perspectives of music types and temperament,analyzes how these foreign musics were received by and mixed into local Chinese tradition.From the view of the formation of the music type institution,the imported musics,guided and constructed by the concepts of ＂four alien musics＂in Zhou Li （Ritual of Zhou）of the Northern Zhou Dynasty（ca.6th century）,formed the foundation of the later music types in the Sui and Tang times. Those types, though falling into the category of foreign music, came in es sence out of the institutions and systems of the pre Qin days（before 221 BC）.Especially with the coordination from Chinese temperament, the performing practice of pipa, though greatly influenced by the Kucha master musician Su Zhipo＇s pipa theory as re fleeted in a debate,was actually based on the pre Qin theory of transposition and modula tion（xuangong and zhuandiao）in order to promote the combination between alien musics and pre Qin theory,as championed by Zhen Yi,the major figure in the debate. In conclusion,the everlasting Chineseness proposed by this article is reflected in the fact that the pre Qin institutions and music theory,despite of the flooding alien musics, were still able to guide the evolution and domestication of those foreign musics in China.