| 摘要: | 「新俗樂」乃近代學者所引用之新名詞，本文旨在探討兩漢時期絲路開通以來，「俗樂」樂風轉化為「新俗樂」樂風之相關問題。藉以「新俗樂」之概念性專名，用來解釋胡樂與俗樂交流融合後，樂風轉化之過渡時期的情況，尤其在唐代開國之後，孕育著新樂風的形成，至玄宗時期(712~756)則集聚代表性之胡、俗融合的新樂曲，以「二部伎」之表演形式，呈現於宮廷樂舞之列。綜觀中外音樂歷史之演進，因時代之變遷，促使樂風之轉化，實屬必然之趨勢，探討本論題，正可解釋絲路開通之後，中國音樂發展上所增加外族音樂元素之情形，由交流、融合等結為一體後，轉化為「新俗樂」樂風之演變。從音樂風格轉化之層面來觀察唐代音樂盛世之發展走向，「新俗樂」確為隋唐「十部樂體系」等樂舞之後，所興盛之新潮樂風，同時亦改變娛樂性與藝術性的音樂風格，影響了後世音樂之發展。撰寫本文，乃基於「新俗樂」之相關研究尚未受到應有重視，又因其為中國音樂史上不容忽視之重要議題。觀察唐代光輝燦爛之音樂盛世，「俗樂」屬非顯耀之論題，雖不能與盛唐時期之「十部樂」、「二部伎」、「梨園」、「教坊」等相關論題同日而語。但「俗樂」樂風之轉化實屬中國音樂史上之重要及值得探討的必要性論題，並進一步給予適當之歷史定位。「新俗樂」發展之最重要階段，除了盛唐時期的快速發展之外，安史亂後至唐末之際，因亂後所形成混亂之政經局勢，激發與加速地促進「新俗樂」之發展，從原為音樂發展重心的宮廷，轉進民間發展。「新俗樂」為中國音樂起了脫胎換骨之作用，並呈現在後來宋代多元音樂藝術之中。研探隋唐宮廷多部樂演變到宋代多元之市民化音樂，涉及「新俗樂」之產生與影響等相關問題，其發展脈絡實值得深入探討。
"New folk music" is a new term introduced by scholars in modern times, and the purpose of this article is to investigate relate issues that "folk music" is transformed into "new folk music" since silk road had been opened during the times of Two Han Dynasty. This work will base on the concept of special term as "new folk music" to interpret the scenario of transition when musical style has transformed after Hu music and new folk music were blended. Most of all, when Tang Dynasty was founded it helped nurture the formation of new folk music. As it comes to the time of Emperor Syuanzong it has accumulated to the representative new folk music that combines Hu and folk music, demonstrated in expression form as "dual-departmental performance" to display the formation of court music and dance. As an overview of evolution of Chinese and western musical history, it is a trend of inevitability when times change, facilitating changes to musical style. For investigation of this topic, it helps to interpret the evolution of musical style into "new folk music" as it turns into oneness through exchange and blending when silk road was opened, and the scenario of Chinese musical development was being supplemented with musical elements from aboriginal minorities.From the aspect of transformation of musical style to observe the approach of development for the prime and summit of Tang music, "new folk music" is, indeed, the novel musical that prospered style after music and dance of "10-departmental musical system" in Sue and Tang Dynasty. At the same time, it had, as well, changed the development of artistic and entertaining musical style, and affected the subsequent progress of music. For composition of this article, it is based on the fact that related studies of "new folk music" have not been awarded with due regard, and also because that it is considered as an important issue hardly to be denied in Chinese musical history. During As we observe the flourishing days of glory and magnificence in Tang Dynasty, "folk music" is reckoned to be of less critical issue, and it can barely be correlated to related topics as "10-departmental music," "dual-departmental performance," "operatic circle," and "workshop of music." Nonetheless, the transformation of musical style regarding "folk music" is considered rather important in Chinese musical history, and is a worthy topic for investigation and it should be provided with a proper history positioning. As for the most critical stage for development of "new folk music," it is reckoned to be the period after Ang-Shih Rebellion to the end of Tang Dynasty, aside from the fast development during the heyday of Tang Dynasty. After the rebellion, the situation created from political and economic chaos had even more stimulated and paced up the development of "new folk music," so that the focus of musical development had turned from the court previously to that of civilian development. In fact, "new folk music" has effected a complete fresh start inside out, and demonstrated in diversified musical arts of Song Dynasty at later days. As this work explores the evolution of multi-departmental music at Sue and Tang Dynasty to plebian music of diversity during Song Dynasty, it involves the related issues as the creation and impact of "new folk music," whereas its development network is most worthy for investigation. |
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