唐淮南大长公主墓志所反映的唐代历史问题

淮南大长公主墓志是目前发现的形体最大、铭文最长的一盒唐代公主墓志,具有重要的历史和文物研究价值.本文在对淮南公主墓志考证的基础上,对墓志中记载的太平公主、唐睿宗李旦等重要历史人物及著名音乐家王长通的有关史事进行了梳理论证,对墓志所反映的武则天"以周代唐"的重大历史事件以及唐代的礼仪风俗、宗教活动、音乐文化等也进行了较充分的论述.     

周公摄政与周初政教关系初探

周公摄政导致了周初二王并存的局面,而二王并存的实质是国家政权和教权的分离。周公是周代初期的巫史领袖,并于武王后期开始执掌教权,由于不能和政权明确分开,引起王族的猜疑。周公为此迁居东都洛邑,并致力于制礼作乐,目的是使政教分权更加明晰化,造成了一次意义深远的社会制度和思想化的革命。     

音乐的净化力量－ 口一叶的《琴之音》

小说《琴之音》的作者以浪漫主义的笔调描写了一个流浪少年变为盗贼和该流浪少年受美妙琴声的感动而良心得到净化的故事。深受古典文学影响的作者在《文学界》青年带来的西方艺术至上主义的启发下,第一次通过自己的作品倡导了音乐救济的思想。由于时代的限制以及作者本身能力与思想的局限,小说无法去救助人脱离物质困境,而只能去救助陷于困境者的心灵。     

Sounding the Journey: The Silk Road Journey by Genjō Sanzō (602–664 CE) in Daylight,Moonlight Kitarō Live In Yakushiji

Since receiving international acclaim in the 1980s for the soundtrack of the popular NHK/CCTV documentary series The Silk Road, Kitarō has tapped into the cultural heritage of Asia. In 2001, Kitarō presented a live performance in the 1,300 year-old temple of Yakushiji in Nara, Japan, selecting works from his repertoire to pay homage to the Buddhist monk Genjō Sanzō, a significant figure in religious history who undertook an epic 16-year journey westwards along the Silk Road in the seventh century. This article investigates how Kitarō portrays that journey in the Yakushiji performance. It first examines how three cultural components used in the homage – namely, Genjō Sanzō, the Silk Road and the concept of journey – are deeply connected to Japanese cultural heritage. It then analyses the performance to reveal how these components are delivered through Kitarō’s music to portray the physical and spiritual journey of the monk. It argues that by selecting music that links to his own associations with the Silk Road, Kitarō has created a concept album that not only unifies New Age music with elements of Japanese cultural and spiritual practice, but also makes them more accessible for the increasingly secularised contemporary society.     

Translated fronts: songs of socialist cosmopolitanism in Cold War India

Throughout the Cold War, India maintained a policy of non-alignment, first in relation to China and later in relation to the US and USSR. This policy allowed India to receive support from both superpowers during the Cold War, and bolstered Jawaharlal Nehru’s efforts to craft a secular nation that would modernize rapidly along socialist lines. As is inevitably the case, reality proved more complicated than policy. The political context became messy, and myriad translations of socialism in regional contexts pulled at the seams of Nehru’s dream, particularly in the rural areas he sought to modernize through dams, irrigation projects, and infrastructural development. In this paper, I interrogate Cold War socialism at its highly translated margins through the work of Sant Tukdoji Maharaj, a singer-saint from rural Eastern Maharashtra whose influence was local, national, and international. Tukdoji was many things to many people: a devotional singer, a Gandhian, a champion of progressive land reform, an international spokesperson for World Peace, and a supporter of nuclear defence at the Chinese and Pakistani fronts. Tukdoji’s music absorbed influences from beyond rural Maharashtra, but many of his songs obscure the depth of his international political engagements and the complexity of his intersecting ideologies. Through close readings of his songs and writings, this article explores how Tukdoji Maharaj adapted cosmopolitan political ideas to particular contexts, crafting each cultural translation to be optimally intelligible and impactful for a given audience.     

晋朝废乐考

早期中国的音乐具有与政治分不开的特征,而在儒教经典中的废乐思想,即由于禁忌观念而排除音乐的思想,到晋朝才反映到国家仪礼上。本文以废乐为主,对王朝动态与运用音乐、国家仪礼与魏晋风俗的关系加以考察探讨。     

中国古代戏曲音乐的历史流变

戏曲音乐的主体是声腔艺术,而戏曲声腔艺术,则萌芽于金、元时期的北曲与南戏。北曲的形成与发展,确立并开创了我国初具规模的戏曲音乐。曲牌联套体制的组织结构较为严密完整,调性色彩对比较为鲜明,形成了北曲在戏剧音乐发展史上的特殊地位。南戏的音乐成熟虽较之北曲晚,但它繁衍迅速,吸取民间创作的传统特点,特别是采用了北曲的套曲,形成了“南北合套”,同时也解决了复杂的音乐技术问题,成为戏曲声腔艺术繁荣、发展的基础。     

汉画中的纯器乐演奏图

本文针对汉画像石中罕见的纯器乐演奏形象,利用图像学的方法,并借鉴相关学科的研究方法与成果,对图中有关乐器的属性、放置与演奏方法、特殊乐器的来历等,进行了较为细致地综合考证,提出了一些新的看法。     

他者凝视下粤剧粤曲展演空间分析——广州荣华楼曲艺茶座个案研究

人文地理学领域鲜有关注"饮茶听粤曲"这一独特的音乐文化景观,鉴于此,本文以百年茶楼——荣华楼的曲艺茶座为例,采取深度访谈及参与式观察、定性描述方法,用"凝视"理论探讨在他者与我者、"看"与"被看"的互动中,荣华楼曲艺茶座其空间功能的塑造及转变、其社会关系的建构及意义。结果表明:①对茶楼关注的焦点随时间发生转移促使经营者思考如何改造展演空间的功能达到维持经营的目的,致使粤剧粤曲展演空间原有功能被分割;②"凝视"是一种展演反思的作用力;3粤剧粤曲展演空间发挥着维系社会某一特定群体文化体系的功能。