清商樂在漢唐之際的流變與發展

From Han Yuefu To Qing Shang Yue- The Development of QingShang Yue

薛幼貞(You-Jhen Syue)

《華岡史學》 3期 (2015/12) Pp. 19-56

摘要

清商樂從曹魏即受到宮廷重視，經歷兩晉與南北朝，逐漸發展成主導地位之一，作為宮廷音樂種類的清商樂，有不同時期的需求與器樂配置的考量。沈括《夢溪筆談》用「前世新聲」反映清商樂在現實歷史的變革途徑，是研究清商樂的基本藍圖。但以清商樂「前世新聲」的意義而言，並不單純為先秦房中曲之遺聲到江南新聲的理解。在轉化過程中，文獻在敘述上有諸多歧異與僭越禮儀等等，且各諸史〈音樂志〉對清商樂的見解彼此間又有差異，必須從其他〈列傳〉、〈職官志〉、〈詩集〉等等釐清其微妙關係。清商樂與政權之間不穩定的關係，樂工、樂器輾轉於南北朝宮廷中，不同畛域間各有其發展。因此本文擬以地方俗曲到王者之聲的演變，瞭解清商樂的淬鍊過程。本文擬分成永嘉之亂（311）前後兩大部分，逐一論述清商樂的形成及其器樂調性。前一部分探索漢代樂府中俱有清商樂的文化氛圍及官僚組織的運作，不僅分析清商樂形成的因素，也藉由政治運作的歷史背景，思索變化的潛因；次則論析清商樂南北不同政權的運作與具體內容。文中就以下幾點作討論：（一）漢樂府俗曲與清商樂之關係。（二）永嘉之亂前，相和曲內容形式逐漸成為「清商三調」，曹魏時期開始受到帝王、貴族的青睞，並改良清商雜舞。（三）永嘉之亂後，清商樂南北分流，擺脫了舊有的調式及器樂組合，創造新的宴饗曲風。（四）隋唐時相容並蓄，清商樂與十大樂舞共同呈現於舞臺，但此時清商樂僅是前朝舊樂內容。從四個論點中抽絲剝繭，以期辨明清商樂不僅具有審美觀的意蘊內涵，且受到帝王的喜愛；藉由對諸文獻的比對中，歸納出清商樂在政權遞嬗中，轉化成政治運作符碼的因果律。

關鍵字

清商樂 ； 前世新聲 ； 房中曲 ； 永嘉之亂

並列摘要

Using the term 'new sound from previous dynasty', Shen Kuo reflected not only the transforming development of QingShang Yue, but also the primary blueprint for studying it. Being a category of court music, the reason why QingShang Yue was highly emphasized from Ciaowei Dynasty, Jin Dynasties to the Southern and Northern Dynasties and then formed into a major music category is supposed to be out of the needs and instrumentation of the imperial court. The term 'the new sound of previous dynasty' can not simply understand as the inheritance from the previous Zhou Dynasty or the new instrument of the Southern China, but something more. During the transformation of QingShang Yue, there were different narratives or transgression etiquette in various materials, and also the divergent statements of Monograph on Music in historical records. Hence, the supportive clarifications from biographies, official posts（Chin-Kuan Chih）, and Collection of Lyric Poems are comparatively essential. After the YongJia Turmoil, QingShang Yue became individual musical category while the political power were rather unstable in the same time. This article is devided into two sections discussing the forming of QingShang Yue and the tonality of those instrument in QingShang Yue. The first section of this airtcle focus on the cultural atmosphere and the function of bureaucratic system in YueFu during the Han dynasty. By analzing the forming process of QingShang Yue and also the historical background of the politics, this section is to find out the potential factors of the changes of the ＂FangZhong Qu of Zhou＂ style. The second section focus on the comparison of the political system and function and the influences of it between Northern and Southern Dynasties. There are four issues in this article: first, the beginning and the forming of QingShang Yue; second, before the YongJia Turmoil, Xianghe qu was becoming the Three Songs of Qing Shang and was popular in the court; third, after the YongJia Turmoil, QingShang Yue was different between the North and the South, and created a brand new sttyle; Forth, during the Sui and Tang Dynasties, QingShang Yue was combined with the Ten Yue Dance. From this four issues, the article proves QingShang Yue content the appreciation of the beauty and was fond by the emperors. Through the comparison of historical records, the development of QingShang Yue has been converted into the political notations.

並列關鍵字

QingShang Yue ； new sound from previous dynasty ； fangzhong qu ； YongJia Turmoil