| 末泥与胡乐西来 |
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| 引用本文： | 黎国韬. 末泥与胡乐西来[J]. 西域研究, 2010, 0(1) |
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| 作者姓名： | 黎国韬 |
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| 作者单位： | 中山大学中国非物质文化遗产研究中心 |
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| 基金项目： | 国家社科基金重点项目“观念、视野、方法与中国戏剧史研究”(08AZW002); 教育部人文社科一般项目“古代戏剧形成与管理:以乐官制度研究为基础”(07JC751026)的阶段性成果 |
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| 摘 要： | 本文通过考证指出,宋杂剧中的"末泥色"源出于西来胡乐"合生"的表演者胡人袜子,文章进而对袜子与末泥(末尼、末)之具体关系、袜子与优中之少者的关系、末泥与合生的关系等问题作了阐释。以上研究表明,通过西域传入的胡人乐舞对中国古代戏剧的形成曾在某些方面产生过重要影响。
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| 关 键 词： | 末泥 袜子 胡乐 祆教 合生 戏剧 |
Moni and Eastward Spread of Hu Music through the Western Regions |
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| Li Guotao. Moni and Eastward Spread of Hu Music through the Western Regions[J]. The Western Regions Studies, 2010, 0(1) |
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| Authors: | Li Guotao |
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| Abstract: | Based upon textual research,this article argues that the role of moni in the Zaju of the Song dynasty was originated from mozi,a Hu(non-Chinese) performer who playedheshengin Hu musical performance.Then the article makes further research on the relationship between mozi and moni (moni,mo),mozi and young performer as well as moni and hesheng.These researches show that in some aspects the Hu musical performance introduced through the Western Regions exerted significant influences on the formation of ancient C... |
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| Keywords: | moni mozi Hu music Zoroastrianism hesheng |
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