摘要
雅乐主要负责宫廷祭祠音乐,教坊乐主要负责朝廷宴饮音乐,从北宋初期至中期,二者乐律不同,乐器有别,歌词体制相异,泾渭分明。这一情况至神宗时发生了一些变化,其中花日新和刘几,一为教坊副使改造教坊乐,一为太乐修定官改制雅乐。二人一前一后的改乐,体现着雅俗的互动互补。花日新主张教坊乐去噍杀之声,“导中和之气”,俗中求雅,更将新乐施之于雅乐殿堂,另一方面,刘几等人在太乐的改造中也自觉地吸收了当代教坊俗乐成分,将教坊乐主动的“拿来”,以至雅乐中出现“郑卫”之声。而刘几的改乐显然于花日新改乐有着很强的承传关系,其“律主人声”的制乐观与花日新要求的歌者之声与乐律之和协配合前后非常一致,体现着共同的音乐主张。从刘几等人和花日新的交游中,宋代乐工与词人的合作情况亦可略见一般。
In intermediate stage of Northern Song Dynasty, Hua ri-xin in charge of improving the Jiaofang music and Liu ji responsible for reforming the Refinged music had their own viewpoints of music. Their changes reflected the effects from each other between the Refinged music and the Common music. We could pay special attention to Liu ji＇s reform spirit that may be soureced from Hua ri-xin＇s reform. From Liu ji and Hua d-xin making friends, also may see the Song Dynasty musician and excellent poet＇s cooperation situation.
出处
《河北大学学报（哲学社会科学版）》
CSSCI
北大核心
2006年第3期112-117,共6页
Journal of Hebei University(Philosophy and Social Science)
关键词
花日新
刘几
雅乐
教坊乐
Hua Ri-xin
Liu Ji
the Refinged music
the Jiaofang music
