前后蜀宫廷音乐略论

前后蜀宫廷音乐在俗乐机构设置上沿袭唐代教坊。演奏内容上,俗乐化突出;演奏曲目方面,沿袭唐部分乐曲的同时,增加新创曲。从乐器及乐队编制看,乐器种类增多,尤其在龟兹乐队中,融入西南少数民族乐器。然其具体形态如何?它在促使唐乐与北宋初期宫廷音乐转变过程中起何作用?促使前后蜀宫廷音乐继承唐并在其基础上有所发展的因素又有哪些?了解这些因素在其中的作用有利于宏观把握此时期的音乐发展概貌,同时对其中音乐形态、特征进行论说也是本论文的主体部分。

On the Court Music in the Former and the Latter Shu Periods

In the institutional settings of the folk music, the court music in the Former and Latter Shu periods followed the imperial music office in the Tang Dynasty; in terms of the contents, it mainly took the flavor of folk music; as for its musical composition, it created some new tracks while keeping some of the old ones in the Tang Dynasty ; with regard to its musical instruments and band setup, it saw increased kinds of musical instruments, especially in Kucha band that atopted some instruments of Southwest Minorities. However, what was the specific form？ What role did it play in promoting the transformation process of the Tang music to the court music of the early Northern Song Dynasty？ What prompted the court music in the Former and Latter Shu Periods to develop while inheriting the Tang music？ Understanding all the above questions will be helpful to generate a macroscopic overview of the music development of that period, and meantime the discourse of the forms and characteristics of the then music also constitutes the main part of this paper.