天宝十三载改诸乐名与燕乐体系的确立

The Change of Music Category Names in the 13th Year of Tianbao During the Reign of the Emperor Xuanzong of the Tang Dynasty,and the Establishment of the Yan Musical System

唐玄宗天宝十三载“太乐署供奉曲名及改诸乐名”,形成了新的命名规范,是胡乐东渐、胡部新声之后音乐融合的结果。“道调、法曲与胡部新声合作”及诸乐改名深化了佛道、胡汉、雅俗音乐的融合,标志着唐代音乐的重构和燕乐体系的确立。“声辞繁杂”的胡、俗之乐崛起,获得与雅乐、清乐的合法平等地位,促进了杂曲子及其变体的独立与繁荣,为倚声填词和曲子词的兴起奠定了音乐基础。从音乐制度和历史活动层面考察唐代音乐体系的变化,有助于我们重新认识词的起源及其发生机制和艺术特征。

In the 13th year of Tianbao(天宝)during the reign of the Emperor Xuanzong of the Tang Dynasty(唐玄宗),“the Music Department of the Court(太乐署)gave music category names and renamed the former music categories”,thus forming a new naming standard for music categories and a new system of musical tunes.This was resulted from the integration of the Han music with the new music from the non-Han ethnic groups(胡部新声)after the latter’s introduction from the Western Regions.“The coordination of Taoist tunes(道调),Buddhist tunes(法曲),and the new music from the non-Han ethnic groups”,together with the renaming of music categories,deepened the integration of the music originated from Buddhism and Taoism,the music from Han ethnic group and non-Han ethnic groups,and the elite music and the folk music,which marked the reconstruction of music categories in the Tang Dynasty and the establishment of the Yan musical system.The rise of the non-Han music and folk music,which were known for their diverse and complicated tunes and lyrics,made them obtain legitimate and equal status with serious music(雅乐)and popular music(清乐),resulted in the independence and prosperity of Ci-poetry(杂曲子)and its variations,and laid down the musical foundation for the rise of Ci-poetry(曲子词)and lyric writing based on tunes.The observation into the transformation of the musical system in the Tang Dynasty from the perspectives of both musical systems and historical activities will bring us new understandings of the origin of Ci-poetry,and its generation mechanism and artistic features.