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唐朝由于以西域诸国为主的外族乐舞大量涌入并与汉族乐舞交流、互鉴、融合,使中国乐舞迎来了发展史上的黄金时期。在墓室中绘制乐舞图既体现了墓主人的身份地位,又在很大程度上为所模拟的内宅家居场景增添了享乐气氛。乐舞图中的乐舞伎或完全是胡人形象,或胡汉掺杂,或胡人形象着唐代服装;从乐器的组合来看,多以胡地乐器为主或胡汉相间;所演奏的音乐亦多具西域风格或改造过的“胡部新声”。说明胡乐胡舞与中原传统乐舞相互融合之后形成的乐舞是唐代社会流行乐舞的主流,而流行乐舞的规模又以小型为主。
Due to the large influx of foreign music and dance in the Western Regions and exchanges and mutual exchange and exchange of experiences with the Han nationality, the Chinese music and dance ushered in the golden age of development. Drawing the music and dance map in the tomb not only reflects the identity status of the owner of the tomb, but also largely adds a hedonic atmosphere to the simulated home-interior scene. Music and dance in the figure of the Kabuki or entirely a barbarian image, or Huhan doping, or the image of the Tang Dynasty costumes; from the combination of instruments, mostly Hu musical instruments or Hu Han white; played by Music is also more Western style or modified “Hu new song ”. It shows that the music and dance formed after the integration of Hulehu dance and Central Plains traditional music and dance is the mainstream of the popular pop music and dance in the Tang Dynasty, while the size of pop music and dance is dominated by small ones.