【作者】 谢明；

【导师】 喻意志；

【作者基本信息】 湖南师范大学 ， 课程与教学论， 2007， 硕士

【摘要】 唐代的筝乐是唐代音乐文化的重要组成部分，是古人留下的一笔珍贵文化遗产，具有很高的艺术价值与学术研究价值。从唐代音乐研究的现状来看，涉及唐代筝乐研究的论著颇多，但是专门针对唐代筝乐进行研究的甚少。本文以“唐代筝乐”为研究对象，从形制、演奏家、筝曲等方面入手，运用文献学、考古学、图像学等方法对唐代筝乐进行全面的梳理和描述。本文分为五章：第一章，收集整理有关唐代筝乐的论文和专著，从筝的形制、演奏技巧、筝谱、筝乐审美等方面，对二十世纪以来关于唐代筝乐的研究成果作一综述。第二章，以唐前文献为基础，从古人对筝的起源、形制及其象征意义等方面，对唐代以前的筝乐作一概述。第三章，介绍唐代筝乐的概况。运用文献学、图像学、考古学相结合的研究方法，从三个方面进行论述：一、以传世文献为基础，概括唐代筝乐的流行情况及形制。二、结合考古出土实物进行分析。三、以敦煌壁画为研究对象，将其分类列表进行比较研究。从另一侧面立体地展现唐代音乐文化所取得的成就。第四章，以演奏为主体，尽可能全面地展示筝乐在唐代音乐活动中的本来面貌，并充分体现这一艺术形式对我国民族文化产生的重大影响。本章分为三部分：一、以唐代文献记载为基础，将筝乐的演奏形式分为独奏、合奏和大型乐队演奏三种类型进行研究。二、以日本藤原师长收集唐传筝曲编订的《仁智要录》为基本资料，对其中记载的技法进行陈述，并对唐代文献中记录的筝乐演奏技法进行整理，结合现代指法加以分析。三、全面梳理唐代文献中有关唐代筝人的记录，以求立体展现作为唐代筝乐演奏与传播主体的演奏者的全貌。第五章，从乐器专史的角度对唐代筝乐的乐谱和乐曲进行探讨。本部分充分借鉴目前学术界有关《仁智要录》的研究成果，对唐代筝谱进行分析并对筝曲进行曲调溯源与考证。更多还原

【Abstract】 Zheng music is the most important constituent of music culture in Tang dynasty. It is a precious cultural heritage passed over by our ancestors and has a high value in arts and academic research. As far as the present research on music in Tang dynasty is concerned, many treatises re associated with Zheng music in Tang dynasty, but few focus on it king Zheng music as the object of this research, this study is to apply methodologies like literature philology, and archeology to sort out and be Zheng music in Tang dynasty in the aspects of Zhengists and Zheng music composition.This paper is composed of five chapters:In chapter one, based on some the modern paper and books on Zheng music in Tang dynasty. I reviewed the research achievements since the twentieth century in the aspects of Zheng making, playing skills, zheng notes, an aesthetics of Zheng music.The second chapter, based on the literatures it describes the Zheng, the origin of Zheng, the making and it symbolic meaning.The third chapter introduces the general situation of Zheng music in Tang dynasty. With the methodology of the combination of literature philology, archeology, graphics, it is described from three aspects: firstly, based on the ancient literatures, I summarized the popularity of Zheng music and its making. Secondly, I did a comparable research with the Dunhuang wall pictures by categorizations and lists. Thirdly, according to the analysis of the unearthed things discovered by archeologists, the achievements on music culture in Tang dynasty is displayed with the third dimension from another point of view.The fourth chapter tries to display how Zheng music was like in the music activities in Tang dynasty by performance and the art’s great influence on our national culture. This chapter is divided into three parts: I, Based on the literature records in Tang dynasty, the research is conducted by classifying the playing style of Zheng music into solo, ensemble and orchestra.Ⅱ, Based on the ’The Essential Points on Humanity and Wisdom’ compiled by the Japanese division commander Teng Yuan who collected Zheng music composition passed over from Tang dynasty, it states the playing skills recorded in this book, and analyzes the modern fingers-practicing skills on the basis of the playingkills of Zheng music recorded in the literatures in Tang dynasty.Ⅲ, In order to display the outline of zheng players who played and spread Zheng music in Tang dynasty, I reorganize all the records on Zhengists in the literatures in Tang dynasty.In the fifth chapter, I explore Zheng music score and composition in Tang dynasty from the point of view of the musical instrument history. According to some research achievements on the book ’The Essential Points on Humanity and Wisdom’ in this field, I also analyze Zheng notesin Tang dynasty, trace these Zheng notes to their sources and make a textual criticism.更多还原