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汉代乐器溯源及其演奏伎艺的丰富与发展——以琴、笛、鼓为例
供稿: 赵兴勤 时间: 2018-12-05 次数:

作者:赵兴勤

作者单位:江苏师范大学文学院

摘要:在我国古代,器乐种类繁多,且表达的意义也各不相同。如"琴",起源很早,且发展成为士大夫阶层不可离身之物,以至有"士无故不徹琴瑟"之说,其地位与玉相仿佛。琴之类的弦丝器乐,既是文人、仕女休闲之时的自娱之具,也可以用于较大祭祀场合的演奏。"笛",这一吹奏乐器,出现也较早。但因长短不同,名称各异,演奏之场合也不尽相同。但有一点是共通的,即如"琴"一样,皆用之以雅乐。"鼓"的用途更广。这一打击乐,兼有节制众乐之作用,但更多用于祭神活动,且常与钟互为配合。至东汉,音乐的伦理功用得到强化,并将阴阳五行等学说引入音乐批评,使伎艺演奏充溢着浓重的政治伦理色彩,这正是汉代阴阳五行学说对音乐、伎艺不断渗透的结果。

基金:国家社会科学基金重大项目(14ZDB029);国家社会科学基金后期资助项目(16FZW038);

关键词:汉代;乐器溯源;演奏伎艺;

DOI:10.16698/j.hpu(social.sciences).1673-9779.2018.03.015

分类号:J632

Abstract:In ancient China, there are many kinds of musical instruments, each with different expressive meaning. Guqin, one of the oldest Chinese musical instruments, gradually became indispensable to the literati-official class. String instruments like Guqin were used for entertainment in leisure time and also in the major worship ceremonies. Flutes, another old Chinese musical instrument, though diverse in shape, name and occasion for performance, were used in court music like Guqin and also appeared in God worship ceremony. Drums had been used much widely, but more often in God worship activities, together with bells. In the Eastern Han Dynasty, the ethical function of music was strengthened and the yin-yang-wuxing theory was introduced into music review, making the performance full of political and ethical flavor.

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