摘要
从墓葬文物视角观察,北魏王朝不同时期有着不同的音乐文化。拓跋代国时期,以吹管乐器和打击乐器为主的鼓吹成为主流的音乐文化形式;北魏平城时期,鼓吹、燕乐、百戏等音乐文化形式相继出现,精彩纷呈;北魏洛阳时代,鼓吹再度恢复,并汲取了当时西域和江南的大量音乐元素。可见北魏音乐文化向华夏文明复归,是一种必然的趋势。
From the perspective of tomb relics,different periods of the Northern Wei Dynasty had different musical cultures.During the Tuoba Dai Guo period,the wind instruments and percussion instrument became the mainstream of music culture.During the Pingcheng period of the Northern Wei Dynasty,musical and cultural forms such as drumming,court dance music,and acrobatics emerged one after another,presenting a variety of exciting performances.During the Luoyang period of the Northern Wei Dynasty,the percussion was once again restored and absorbed a large amount of musical elements from the Western Regions and south of the Yangtze River at that time.It can be seen that the return of Northern Wei music culture to Chinese civilization is an inevitable trend.
作者
曹明明
CAO Ming-ming(School of Music,Shanxi Datong University,Shanxi,Datong,037009)
出处
《云冈研究》
2023年第2期55-60,共6页
Yungang Research
基金
山西大同大学科学研究项目“‘丝绸之路’背景下北魏民间音乐形态发展演变史考”(2020YGZC096)
关键词
北魏王朝
音乐形态
墓葬文物
Northern Wei Dynasty
musical form
tomb relics
