东北古代音乐文化研究
摘要
该论文以东北古代音乐文化发展历程为中心,客观真实地呈现出在这片土地上不同民族、不同社会背景、不同生产方式下东北古代音乐文化的形成、发展、交流以及它的丰富性、多样性,还有其深远影响和意义。笔者不仅注意到音乐的本体研究,更拓宽视野,采用了音乐学、历史学、民族学、民俗学、宗教学等跨学科的综合知识,全方位、多层次、深入发掘,旨在推进东北古代音乐的研究向更广阔的范围和更纵深的学术层次发展,引起更多人对东北古代音乐文化的关注,整理和弥补曾被我们忽略和淡忘的古代音乐文化,从而进一步研究和证明源远流长的东北古代音乐文化的艺术价值和学术价值。
This paper by northeast ancient times music culture took the research aim, take music development course as the center, discussion different nationality, different natural environment, under the different production method, northeast ancient times music culture formation, development, evolution, dissemination, as well as its rich, multiplicity, but also has its profound influence and the significance. The author has utilized the musicology, the ethnology, the ethnology, the history, the sociology and so on the various knowledge, was for the purpose of, the multi-angles of view omni-directionally, more thorough, more objective, really presents northeast ancient times the music culture real style,Real diagnosis, systematized northeast ancient times music culture development course,Advanced northeast ancient times music culture research to a broader scope and the depth academic level development, Caused more people to northeast ancient times music culture attention.
Author's research divides into following several parts:
The foreword part elaborated ancient times situations and so on northeast's historical origin, region general picture, humanities history general picture.
First chapter author according to northeast ancient times music culture historical development, First introduced in the ancient times time myth fable northeast by the time vein ancient times music、Subsequently has studied the antiquity to Wei Jin Southern and Northern Dynasties time music, introduced specially ancient austere cautious, scoops up Low, not the lucky music, This time, northeast in ancient times years, The ancients have been through repeatedly East China Sea for the mulberry field vicissitude, Because fishes and hunts for lives, Also often is accompanied by the national migration, the war, splits up unceasingly, fuses unceasingly, in survived like this, under the working condition has had the drawing close to life, Ominous fierce, brave, optimistic primitive dancing to music, appeared has day after day enlivened, the prosperous ancient times northeast various nationalities' music culture.
The northeast area from the antiquity - Wei Jin Southern and Northern Dynasties this phase of long historical period, the northeast area ancients, occupies the race is in the migration and changing. Music from primitive, the dim condition develops to the collection song, the dance, Le Wei a body performance music.North, the northeast area has Di Le, promotes, Gao Ju Li happy is happy, on the musical instrument, the Xi qin produces in northeast, this without doubt to our country stringed musical instrument development huge function. Simultaneously the external music and the musical instrument were also affecting northeast ancient times music culture, not only especially music had its magnificent achievement in this period northeast Gao Ju the Li in northeast, later it will become one of Sui and Tang dynasties palace important musics, not only it spread in the ancient times China, but also spread Japan, developed the important influence to the Japanese music.
The second chapter author has studied the Sui and Tang dynasties time music. This time take Bohai Sea maritime country Mohe music as a characteristic, The Mohe human in transforms from the slave society to the feudal society advancement in, because the civilized degree difference causes music shape to be different. Its folk music, on the one hand leaves leeway the primitive dancing to music trace, on the other hand also forms the agricultural civilized dancing to music in the gradation. Its palace music is manifesting, by the happy enlightened music thought, the amusement god, the amusement person's music function, the dancing to music, sings, the musical instrument music form, because all imitates Tang to achieve the high level presents the feudal civilization. Bohai Sea happy achievement traditional Chinese music by its unique style, but also passes on from generation to generation by generation of Le Feng, until distant, the gold, Song, Yuan Gedai presides northeast and area south of Yellow River, Still had Bohai Sea happy, the Mohe dance, the Bohai Sea qin trail.
Here Korean music is more perfect compared with the front section and the systematization, it take the independence happy kind in the area south of Yellow River widespread dissemination, likes as the common people, and official is listed as one of traditional Chinese musics.Korea happy sings, the dance, orchestra already with the suitable scale, achieves the high artistic level.
This time Qidan music also obtains the development and the exchange, because the Qidan person lives by You Liewei, therefore music follows them to swim hunts for the life.Develops unceasingly in the Sui and Tang dynasties time along with its influence, Qidan and the area south of Yellow River have in music also have the wide-ranging exchange.
The third chapter author has studied, golden, Yuan time northeast distantly ancient times music.This time is a time which north part of our country the nationality is in rises.Industrious, brave, wisdom north various races people, has created the magnificent music culture.On the one hand they are retaining this national inherent culture special characteristic, on the one hand absorbs the area south of Yellow River and Zhu Guo the music achievement, enabled, golden, Yuan time music to achieve distantly the unprecedented scale, and obtained the very great achievement.
The distant generation of court music, greatly happy, disperses the happy use, causes the palace dancing to music system to move towards completely.
The Jin Dynasty sacrificial offering music, it may be said north part of our country the earliest large-scale vocal music, the instrumental music cyclical form, the literature style, the theme all are very rich.
The golden monetary equivalent opera script, the zhugong melody appearance, to the Yuan zaju formation the function which could not be underestimated.The gold is in charge the area south of Yellow River, the Nuzhen music is absorbed sanqu, in a Yuan zaju, impelled sanqu, the Yuan zaju development, then promoted the Chinese play, the drama to form the complete system, became the Chinese play the peak.This in the Chinese cultural history influence is profound, the contribution also is huge.
The fourth chapter author studied is bright, clear time northeast ancient times music.This time is the China feudal society's last stage.In music, the ruler promotes with great effort the court music.Because rural population flowed in the city to take into the massive folk songs, from this and evolved the city song.Hereafter, these city song after the entertainer and writer's processing, has formed each kind of traditional entertainment involving talking and singing and the drama gradually. Hereafter, these city song after the entertainer and writer's processing, has formed each kind of traditional entertainment involving talking and singing and the drama gradually.In addition, the northeast area except Chinese, outside the full two races, simultaneously also has Mongolia, returns to, race people and so on North Korea, Siberia, Evenki, Oronchon, Hezhe, Dawoer lives together. Because their dance music is extremely rich, causes this time northeast's folk song music, traditional entertainment involving talking and singing music, drama music to be all colorful.It can be said that, bright, clear time northeast music is the above various national music big exchange, the big collection.
The fifth chapter author studied is northeast archaic religion music.For example: Abundant music, Lamaism music, Taoism music, especially take Manchu nationality Sa full music as research key, Sa Man has the inconceivable profound influence in northeast many nationalities, until now extends not certainly. It has enlivened at least on the motherland in the recent ten thousand years, and becomes the world various nationalities civilization the start parent substance.Its music shape by the language and music union primarily, is the cheerful dance, the song and the dance, the song and the happy union, the unique music rule makes it to be characteristic, its influence as well as the radiation effect to our country northeast region culture characteristic formation inestimable function, also have simultaneously become one of northeast area each national minority spiritual life constitution factors.
The sixth chapter author studied is northeast ancient times has the representative national minority music.In northeast ancient times in music, national minority music was most important, the richest characteristic.Ancient times the northeast area was a nationality lives together, these clans in long-term productive labor, also has had respectively the different music culture, they and the Chinese, the full two race people together have together enriched the northeast area music culture.Especially in bright, the clear time northeast area music entered the comparatively mature stage. In music form, but branches out the folk song, traditional entertainment involving talking and singing music, dance music, drama music, the sacred music, the instrumental music clearly and so on, their music has formed respective law of development.In music style, has formed the northeast place characteristic, it through the cheerful rhythm, the melody which four, five, seven degrees jump greatly carries on, displays the northeasterner straightforwardly, the simple disposition. This kind of happy music has formed the einstellung - northeast place music in the people heart.Each national minority relative independence, stable, their music corresponding obtains the development.These can sing and dance well nationality, also let northeast music be ancient times more richly colorful.
Northeast's music culture is well-established, since the ancient times enjoys the high reputation in music cultural history.But is following urbanized, modernized, the cultural diversity advancement, added reasons and so on society, economical development, northeast ancient times music culture, also was following the survival and moves westward unceasingly, fused in various nationalities in the process, along with it assimilation and the fusion, precipitated nearly in the China music, Is neglected by the people with forgetting, but in China ancient times in music main Le Zhong, actually had its mark, from the scholarly research achievement which has looked, formerly sees here and there in some comprehensive music is discussing in or during the commentary, moreover only limits some national, some region, some kind of music style research, not yet forms the special centralism research, The author follows the senior scholar's research technique and the step, but also has utilized the musicology, the cultural science, the anthropology, the ethnology, the ethnology, the history, the religious study, the sociology and so on the various interdisciplinary comprehensive knowledge, from the ethomusicology angle of view, ancient times music culture carried on the thorough excavation, the reorganization and the synthetic study to northeast, this also was precisely the characteristic which this paper decided is at. This paper research institute involved the region big, the nationality broad, music shape many, the historical culture lies latent great distant all increased the characteristic and the flavor for this paper.The author has also highlighted music in this topic research, it is well known, One of ethomusicology essential features initiates music cultural science research, but very discussed all was desalinating music, with cultural submergence music, but the author clear revealed music in the cultural focusing, set at variance the culture in music analysis, has manifested the style which the ethomusicology should have, had the precious practical significance and the important academic value.
This paper by northeast ancient times music culture took the research aim, take music development course as the center, discussion different nationality, different natural environment, under the different production method, northeast ancient times music culture formation, development, evolution, dissemination, as well as its rich, multiplicity, but also has its profound influence and the significance. The author has utilized the musicology, the ethnology, the ethnology, the history, the sociology and so on the various knowledge, was for the purpose of, the multi-angles of view omni-directionally, more thorough, more objective, really presents northeast ancient times the music culture real style,Real diagnosis, systematized northeast ancient times music culture development course,Advanced northeast ancient times music culture research to a broader scope and the depth academic level development, Caused more people to northeast ancient times music culture attention.
Author's research divides into following several parts:
The foreword part elaborated ancient times situations and so on northeast's historical origin, region general picture, humanities history general picture.
First chapter author according to northeast ancient times music culture historical development, First introduced in the ancient times time myth fable northeast by the time vein ancient times music、Subsequently has studied the antiquity to Wei Jin Southern and Northern Dynasties time music, introduced specially ancient austere cautious, scoops up Low, not the lucky music, This time, northeast in ancient times years, The ancients have been through repeatedly East China Sea for the mulberry field vicissitude, Because fishes and hunts for lives, Also often is accompanied by the national migration, the war, splits up unceasingly, fuses unceasingly, in survived like this, under the working condition has had the drawing close to life, Ominous fierce, brave, optimistic primitive dancing to music, appeared has day after day enlivened, the prosperous ancient times northeast various nationalities' music culture.
The northeast area from the antiquity - Wei Jin Southern and Northern Dynasties this phase of long historical period, the northeast area ancients, occupies the race is in the migration and changing. Music from primitive, the dim condition develops to the collection song, the dance, Le Wei a body performance music.North, the northeast area has Di Le, promotes, Gao Ju Li happy is happy, on the musical instrument, the Xi qin produces in northeast, this without doubt to our country stringed musical instrument development huge function. Simultaneously the external music and the musical instrument were also affecting northeast ancient times music culture, not only especially music had its magnificent achievement in this period northeast Gao Ju the Li in northeast, later it will become one of Sui and Tang dynasties palace important musics, not only it spread in the ancient times China, but also spread Japan, developed the important influence to the Japanese music.
The second chapter author has studied the Sui and Tang dynasties time music. This time take Bohai Sea maritime country Mohe music as a characteristic, The Mohe human in transforms from the slave society to the feudal society advancement in, because the civilized degree difference causes music shape to be different. Its folk music, on the one hand leaves leeway the primitive dancing to music trace, on the other hand also forms the agricultural civilized dancing to music in the gradation. Its palace music is manifesting, by the happy enlightened music thought, the amusement god, the amusement person's music function, the dancing to music, sings, the musical instrument music form, because all imitates Tang to achieve the high level presents the feudal civilization. Bohai Sea happy achievement traditional Chinese music by its unique style, but also passes on from generation to generation by generation of Le Feng, until distant, the gold, Song, Yuan Gedai presides northeast and area south of Yellow River, Still had Bohai Sea happy, the Mohe dance, the Bohai Sea qin trail.
Here Korean music is more perfect compared with the front section and the systematization, it take the independence happy kind in the area south of Yellow River widespread dissemination, likes as the common people, and official is listed as one of traditional Chinese musics.Korea happy sings, the dance, orchestra already with the suitable scale, achieves the high artistic level.
This time Qidan music also obtains the development and the exchange, because the Qidan person lives by You Liewei, therefore music follows them to swim hunts for the life.Develops unceasingly in the Sui and Tang dynasties time along with its influence, Qidan and the area south of Yellow River have in music also have the wide-ranging exchange.
The third chapter author has studied, golden, Yuan time northeast distantly ancient times music.This time is a time which north part of our country the nationality is in rises.Industrious, brave, wisdom north various races people, has created the magnificent music culture.On the one hand they are retaining this national inherent culture special characteristic, on the one hand absorbs the area south of Yellow River and Zhu Guo the music achievement, enabled, golden, Yuan time music to achieve distantly the unprecedented scale, and obtained the very great achievement.
The distant generation of court music, greatly happy, disperses the happy use, causes the palace dancing to music system to move towards completely.
The Jin Dynasty sacrificial offering music, it may be said north part of our country the earliest large-scale vocal music, the instrumental music cyclical form, the literature style, the theme all are very rich.
The golden monetary equivalent opera script, the zhugong melody appearance, to the Yuan zaju formation the function which could not be underestimated.The gold is in charge the area south of Yellow River, the Nuzhen music is absorbed sanqu, in a Yuan zaju, impelled sanqu, the Yuan zaju development, then promoted the Chinese play, the drama to form the complete system, became the Chinese play the peak.This in the Chinese cultural history influence is profound, the contribution also is huge.
The fourth chapter author studied is bright, clear time northeast ancient times music.This time is the China feudal society's last stage.In music, the ruler promotes with great effort the court music.Because rural population flowed in the city to take into the massive folk songs, from this and evolved the city song.Hereafter, these city song after the entertainer and writer's processing, has formed each kind of traditional entertainment involving talking and singing and the drama gradually. Hereafter, these city song after the entertainer and writer's processing, has formed each kind of traditional entertainment involving talking and singing and the drama gradually.In addition, the northeast area except Chinese, outside the full two races, simultaneously also has Mongolia, returns to, race people and so on North Korea, Siberia, Evenki, Oronchon, Hezhe, Dawoer lives together. Because their dance music is extremely rich, causes this time northeast's folk song music, traditional entertainment involving talking and singing music, drama music to be all colorful.It can be said that, bright, clear time northeast music is the above various national music big exchange, the big collection.
The fifth chapter author studied is northeast archaic religion music.For example: Abundant music, Lamaism music, Taoism music, especially take Manchu nationality Sa full music as research key, Sa Man has the inconceivable profound influence in northeast many nationalities, until now extends not certainly. It has enlivened at least on the motherland in the recent ten thousand years, and becomes the world various nationalities civilization the start parent substance.Its music shape by the language and music union primarily, is the cheerful dance, the song and the dance, the song and the happy union, the unique music rule makes it to be characteristic, its influence as well as the radiation effect to our country northeast region culture characteristic formation inestimable function, also have simultaneously become one of northeast area each national minority spiritual life constitution factors.
The sixth chapter author studied is northeast ancient times has the representative national minority music.In northeast ancient times in music, national minority music was most important, the richest characteristic.Ancient times the northeast area was a nationality lives together, these clans in long-term productive labor, also has had respectively the different music culture, they and the Chinese, the full two race people together have together enriched the northeast area music culture.Especially in bright, the clear time northeast area music entered the comparatively mature stage. In music form, but branches out the folk song, traditional entertainment involving talking and singing music, dance music, drama music, the sacred music, the instrumental music clearly and so on, their music has formed respective law of development.In music style, has formed the northeast place characteristic, it through the cheerful rhythm, the melody which four, five, seven degrees jump greatly carries on, displays the northeasterner straightforwardly, the simple disposition. This kind of happy music has formed the einstellung - northeast place music in the people heart.Each national minority relative independence, stable, their music corresponding obtains the development.These can sing and dance well nationality, also let northeast music be ancient times more richly colorful.
Northeast's music culture is well-established, since the ancient times enjoys the high reputation in music cultural history.But is following urbanized, modernized, the cultural diversity advancement, added reasons and so on society, economical development, northeast ancient times music culture, also was following the survival and moves westward unceasingly, fused in various nationalities in the process, along with it assimilation and the fusion, precipitated nearly in the China music, Is neglected by the people with forgetting, but in China ancient times in music main Le Zhong, actually had its mark, from the scholarly research achievement which has looked, formerly sees here and there in some comprehensive music is discussing in or during the commentary, moreover only limits some national, some region, some kind of music style research, not yet forms the special centralism research, The author follows the senior scholar's research technique and the step, but also has utilized the musicology, the cultural science, the anthropology, the ethnology, the ethnology, the history, the religious study, the sociology and so on the various interdisciplinary comprehensive knowledge, from the ethomusicology angle of view, ancient times music culture carried on the thorough excavation, the reorganization and the synthetic study to northeast, this also was precisely the characteristic which this paper decided is at. This paper research institute involved the region big, the nationality broad, music shape many, the historical culture lies latent great distant all increased the characteristic and the flavor for this paper.The author has also highlighted music in this topic research, it is well known, One of ethomusicology essential features initiates music cultural science research, but very discussed all was desalinating music, with cultural submergence music, but the author clear revealed music in the cultural focusing, set at variance the culture in music analysis, has manifested the style which the ethomusicology should have, had the precious practical significance and the important academic value.
引文
① 《满族文学史》第 1 卷,沈阳出版社 1989。
② 《满族文学史》第 1 卷,沈阳出版社 1989。
① 《山海经》“大荒北经”载:“大荒之中有山,名曰不咸,有肃慎之国。”《史记正义》引《括地志》载:“靺鞨,古肃慎业,其国有白山。”
② 《晋书》“四夷传.肃慎”载:“再不咸山北,去夫余可六十日行,东滨大海,西接寇漫汗国,北极弱水,其土界广袤数千里。”
③ 《魏书》“勿吉传”载:“勿吉国,在高居丽北,旧肃慎国也。”
④ 见薛虹、李澍田主编《中国东北通史》第 195 页。
⑤ 见薛虹、李澍田主编《中国东北通史》第 71、196 页。户矢是古代用植物荆的杆做成的箭。
① 《晋书》卷 108“慕容 载记”。
② 《管子》卷 8“小匡”尹知章注。
③ 《逸周书》卷 7“王会篇”孔晁解。
④ 《 貊迁徙考》载《民族研究》1985 年第 4 期。
⑤ 《后汉书》卷 85 “东夷传”。
⑥ 疏云:“知舞之以东夷之舞者,以专其夷乐。”
⑦ 《礼记》卷 9“明堂位”。
⑧ 《中国古代乐论选辑》中《白虎通德论.礼乐》,人民音乐出版社 1983。
⑨ 《北史》卷 94 “勿吉”。
⑩ 勿吉族是挹娄之后裔,而邑娄又是肃慎的后裔。
① 《北史》卷 94,“勿吉”。
② 《中国东北史》,吉林文史出版社 1987。
③ 《中国东北史》,吉林文史出版社 1987。
④ 《乐府诗集》卷 21,“横吹曲辞一”。
① 《中国音乐辞典》“北狄乐”。
② 《史记》,卷 110,“匈奴列传”司马贞索隐引服虔。
③ 《史记》,卷 32“齐太公世家”集解引服虔。
④ 《北史》,卷 93,“僭伪附庸”。
⑤ 《十六国春秋辑补》卷 30,“前燕录 8”
⑥ 《十六国春秋辑补》卷 30,“前燕录 8”
①《乐府诗集》卷 25,“横吹曲辞五”中“企喻歌辞四曲”。
②《魏书》“乐志”。
③《旧唐书》卷 29“志第 9,音乐中”。
④《旧唐书》卷 29“志第 9,音乐中”。
① 《隋书》,“音乐志”。
② 《中国古代音乐史稿》上册,人民音乐出版社。
③ 《魏晋南北朝音乐史料》,上海文艺出版社。
④ 《北齐书》卷 2,“帝纪第 2 . 神武下”。
① 《北史》卷 94“高句丽传”。
② 《后汉书》卷 85“高句丽传”。
③ 《后汉书》东夷列传第 75。
④ 1962 年春季吉林辑安考古调查简报《考古》1962 年 11 期。
⑤ 《后汉书》东夷列传第 75。
①《三国志》卷 30“魏书.东夷传,扶余”。
②《三国志》卷 30“魏书.东夷传”。
③《三国志》卷 30“魏书.东夷传”。
④《魏书》卷 100“契丹传”。
⑤《北史》卷 94,“契丹传”。
⑥《北史》卷 94,“契丹传”。
⑦《北史》卷 94,“奚传”。
① 陈旸《乐书》。
② 乌洛候部属东胡后裔。北魏时居在今嫩江与额尔古纳河之间。
③《魏书》卷 100,“乌洛候传”。
① 北齐武成帝河清二年(公元 583 年)《北齐书》载:“是岁室韦、库莫奚、靺鞨、契丹、并遣使朝贡。”这是有关靺鞨最早的文字记载。《旧唐书》“靺鞨后魏谓之勿吉。”《北史》“勿吉传”载:“勿吉国一名靺鞨。”
① [日]田边上雄《日本音乐讲话》载:“渤海的音乐近似朝鲜音乐。”
②《旧唐书》“北狄传”载“靺鞨人性凶悍,无忧戚,......”;《契丹国志》卷 28 载:“男子智谋骁 勇,出他国右至有三人渤海当一虎。”
③《隋书》“乐志”载:“开皇初年,(靺鞨诸部)相率遣使贡献,高祖因厚劳之,令宴饮于前,使 者与其徒皆起舞,曲折多战斗之容。”
④ 金毓 《渤海国志长编》“族俗考”载:“每岁时聚会作乐,先命善歌舞者数辈前行,士女相随更相唱和,回旋婉转,号曰‘踏锤’。
⑤ 见宋.陈旸《乐书》。
⑥ 金毓 《渤海国志长编》。
① [日] 善之助《日本文化史》。
② 见《渤海贞孝公主墓发掘清理简报》,载《社会科学战线》1981 年第 1 期。
③ 南宋.姜夔《白石道人诗集》。
① 明.蒋克谦《琴书大全》。
② 何昌林《三弦----渤海琴》,载《中国音乐》1989 第 4 期。
③ 王玖罡《乾隆艺苑揽胜》载:“靺鞨人的民族乐舞出使朝廷,于长安城和当地康衢戏、百戏共同 表演,互相学习交流技艺,而后经糅合加工产生了女童清音这一乐舞。”
④ 《渤海国志》卷四。
⑤ 参见《东北通史.上编 6 卷》。
① 《隋唐五代音乐史料》。
② 引自《渤海国音乐初探》。
③ 《乐府新声》1986 第 4 期,《隋唐五代音乐史料》。
① 宋.陈旸《乐书》。
① 《辽金元音乐史料》,上海文艺出版社 1986。
① 薛虹、李澍田主编《中国东北通史》。
② 见江应梁主编《中国民族史》。
① 《满族文学史》(一),沈阳出版社 1989 年版。
② 《大金国志》卷 39 载:“女真人婚姻制度”。
① 王国维《宋元戏曲史》载:“两宋戏剧,均谓之杂剧,至金而始有院本之名。”
② 王国维《宋元戏曲史》“金院本名目”。
①《中国戏曲曲艺词典》“虎头牌”条,第 452 页。
②《中国戏曲曲艺词典》“金安寿”条,第 470 页。
① 明.沈宠绥《度曲须知》。
② 载《中国音乐词典》“北曲”条,第 22 页。
③ 王国维《宋元戏曲史》“南戏之渊源及时代”。
① 明. 刘侗《帝京景物略》。
② 明.刘侗《帝京景物略》。
① 《御制律吕正义后编》“宴飨乐一. 瓦尔喀部乐舞”,卷 45,第 60 页。
② 《清史稿》卷 94,志 69,乐一,第一一册,第 2735 页。
③ 《钦定大清会典则例》(乾隆朝)“乐部”,卷 98,第 2 页。
④ 《钦定大清会典则例》(乾隆朝)“乐部”,卷 98,第 2 页。
① 载《御制律吕正义后编》“提要”:“曰祭祀乐、曰朝会乐、......”,卷 1,第 2 页。
②《清史稿》卷 101,志 76 载,清代乐制。
③ 万依、黄海涛《清代宫廷音乐》第 13—14 页。
①《御制律吕正义后编》“宴飨乐一”,卷 45,第 36 页。
②《御制律吕正义后编》“宴飨乐一”,卷 45,第 36 页。
① 《满族通史》第一编,第三章“女真改称满洲”,第 137 页。
① 见赵志忠《〈霓棠续谱〉与清代满族民歌》,载《满族研究》1989 第 3 期。
① 《中国民歌》(3),上海文艺出版社 1982 年版。
② 汤佑曾《莽式歌》:“莽式着,乐舞之名也”。第 14—16 页。
① 《东北二人转研究》,辽宁人民出版社。
② 引自《中国音乐辞典》。
① 《奉天通志》卷 214,人物 42 ,艺术。
② 《艺野知见录》中《子弟书的产生及其在东北之发展》和《漫话子弟书》。
① 清.曼珠震均《天咫偶闻》卷七。
② “芝兰诗社”由缪公恩等人组成,盛京将军晋昌支持。
③ “荟兰诗社”以韩小窗等为主成立。
④ 《金台杂俎》。
① 李啸仓《曲艺谈》“牌子曲的发生与发展”。
② 张长弓《鼓子曲言》中“鼓子曲与八角鼓牌子曲杂调比较观”。
③ 李啸仓《曲艺谈》中“牌子曲的发生与发展”。
④《单弦牌子曲分析》(王秀卿等传谱,于会泳编著)中《四板腔》。
① 《艺野知见录》中《漫话什不闲》。
① 吴长元《宸垣识略》。
②《承德地区曲艺志》河北省承德地区行署文化局《曲艺志》编辑部 1989 年 10 月印行。
① 隋书今《满族戏‘朱春’初探》。
① 《艺野知见录》中《戏曲与辽宁》。
① 《科尔沁博艺术初探》,哲里木盟文化处编。
1《中国古代音乐史稿》(上、下册) 杨荫浏著 2人;民20音03乐,出9版 第社 8 ,次1印98刷1,
2《中国传统音乐研究》 吕 骥 著 中 央 音 乐 学 院 出 版 社2004,12
3《中国传统音乐概论》 袁静芳编 上海音乐出版 2000,10;2001,11 第 2 次印刷
4《民族音乐学概论》 伍国栋著 人民音乐出版社 1997,3;2004,9 第 5 次印刷
5《满族音乐研究》 石光伟 刘桂腾凌瑞兰著 人民音乐出版社,2003,5
6《鄂伦春族萨满教研究》 关小云、王宏刚 辽宁人民出版社,1998,3
7《原始宗教》 朱天顺著 上海人民出版社,1978,9
8《萨满论》 富育光著 辽宁人民出版社,2000,9
9《中国宗教音乐》 田青主编 宗教文化出版社,1997,6
10《中国东北通史》 薛虹、李澍田主编 吉林文史出版社,1991,5
11《东北艺术史》 李浴、刘中澄、凌瑞兰等编 春风文艺出版社,1992年
12《东北各民族文化交流史》 孙进已著 年春 风文艺出版社,1992
13《中国少数民族乐器志》 袁炳昌,毛继增主编 新世界出版社,1986,5
14《驯鹿鄂温克人文化研究》 卡丽娜著 7辽 宁民族出版社,2006,
15《中国音乐词典》 缪天瑞,吉联抗,郭乃安主编人民音乐出版社,1984,1
16《中国地方志民俗资料汇编(东北卷)》 丁世良,赵放主编 书目文献出版社,1989,6
17《东北俗文化史》 王肯等编 春风文艺出版社,1992,7
18《金史》 元·脱脱等撰 中华书局,1975,7
19《清史稿》 赵尔巽等撰 上海古籍出版社,1986,2
20《满族通史》 李燕光,关捷主编 辽宁民族出版社,1991,7
21《宋元戏曲史》 王国维著 东方出版社,1996,8
22《满族音乐特色及其形成原因》 李丽莎 中中国国音音乐乐 学 1院98学6 报年 4 期
23《渤海国音乐初探》 陶亚兵 艺术研究 1986 年 2期 黑龙江省艺术研究所
24《锡伯族民间音乐及乐器》 黎蔷 声沈》阳1音99乐4 年学季院刊《 乐府新
25《锡伯族民歌和满族民歌的比较研究》 杜亚雄 中中国国音音乐乐 学 1院98学5 报年 1 期
26《明清乐:传到日本的中国音乐》 杨桂香 第大 会31 1 9届91国 年际 7传 月统香音港乐 学
27《中国满洲萨满音乐的原始特征》 冯伯阳 《乐府新声》1994 年增刊
28《科尔沁蒙古族萨满祭祀式音乐考》 刘桂腾 年中第央 音1 乐期学 院学报,2004
29《满族乐器选介》 笑宇 中国音乐,1989 年 3 期
30《北亚萨满鼓乐象征性处理之探讨》 李莉莎 大第会 31 1 9届91国 年际 7传 月统香音港乐 学
31《古代蒙古与高丽的音乐文化交流》 乌兰杰 中国音乐学,2003,2
32《辽金以前东北古代民族的音乐》 姚刚 牡200丹2,江5师 范学院学报,
33《蒙古萨满乐舞对近现代蒙古族乐舞的影响》 田小军 中央民族大学学报·哲学社会科学版 2004 年第 5期
34《东北单鼓的源流及其音乐特征》 刘桂腾 中国音乐学,1990,4
35《蒙古乐与满洲舞在清代的文化功能》 余少华 译哈本佛 大学,1996,中文节
36《具开拓性的中国地方音乐史研究成果──评凌瑞兰的东北音乐史研究》 修海林 乐府新声-沈阳音乐学院学报,2000,02
37《谈我国古代东北民族音乐文化交流》 朱季贤 中国音乐 1998,02
38《东北古代音乐传入中原的文化考察》 凌瑞兰 乐学报府 新19声94-,沈0阳4 音乐学院
39《秦、汉时代东北扶余族的音乐歌舞》 吕树坤 戏剧文学 1987,08
40《从满族乐器的形成看满族的兼容性》 李理 满族研究,1990,1
② 《满族文学史》第 1 卷,沈阳出版社 1989。
① 《山海经》“大荒北经”载:“大荒之中有山,名曰不咸,有肃慎之国。”《史记正义》引《括地志》载:“靺鞨,古肃慎业,其国有白山。”
② 《晋书》“四夷传.肃慎”载:“再不咸山北,去夫余可六十日行,东滨大海,西接寇漫汗国,北极弱水,其土界广袤数千里。”
③ 《魏书》“勿吉传”载:“勿吉国,在高居丽北,旧肃慎国也。”
④ 见薛虹、李澍田主编《中国东北通史》第 195 页。
⑤ 见薛虹、李澍田主编《中国东北通史》第 71、196 页。户矢是古代用植物荆的杆做成的箭。
① 《晋书》卷 108“慕容 载记”。
② 《管子》卷 8“小匡”尹知章注。
③ 《逸周书》卷 7“王会篇”孔晁解。
④ 《 貊迁徙考》载《民族研究》1985 年第 4 期。
⑤ 《后汉书》卷 85 “东夷传”。
⑥ 疏云:“知舞之以东夷之舞者,以专其夷乐。”
⑦ 《礼记》卷 9“明堂位”。
⑧ 《中国古代乐论选辑》中《白虎通德论.礼乐》,人民音乐出版社 1983。
⑨ 《北史》卷 94 “勿吉”。
⑩ 勿吉族是挹娄之后裔,而邑娄又是肃慎的后裔。
① 《北史》卷 94,“勿吉”。
② 《中国东北史》,吉林文史出版社 1987。
③ 《中国东北史》,吉林文史出版社 1987。
④ 《乐府诗集》卷 21,“横吹曲辞一”。
① 《中国音乐辞典》“北狄乐”。
② 《史记》,卷 110,“匈奴列传”司马贞索隐引服虔。
③ 《史记》,卷 32“齐太公世家”集解引服虔。
④ 《北史》,卷 93,“僭伪附庸”。
⑤ 《十六国春秋辑补》卷 30,“前燕录 8”
⑥ 《十六国春秋辑补》卷 30,“前燕录 8”
①《乐府诗集》卷 25,“横吹曲辞五”中“企喻歌辞四曲”。
②《魏书》“乐志”。
③《旧唐书》卷 29“志第 9,音乐中”。
④《旧唐书》卷 29“志第 9,音乐中”。
① 《隋书》,“音乐志”。
② 《中国古代音乐史稿》上册,人民音乐出版社。
③ 《魏晋南北朝音乐史料》,上海文艺出版社。
④ 《北齐书》卷 2,“帝纪第 2 . 神武下”。
① 《北史》卷 94“高句丽传”。
② 《后汉书》卷 85“高句丽传”。
③ 《后汉书》东夷列传第 75。
④ 1962 年春季吉林辑安考古调查简报《考古》1962 年 11 期。
⑤ 《后汉书》东夷列传第 75。
①《三国志》卷 30“魏书.东夷传,扶余”。
②《三国志》卷 30“魏书.东夷传”。
③《三国志》卷 30“魏书.东夷传”。
④《魏书》卷 100“契丹传”。
⑤《北史》卷 94,“契丹传”。
⑥《北史》卷 94,“契丹传”。
⑦《北史》卷 94,“奚传”。
① 陈旸《乐书》。
② 乌洛候部属东胡后裔。北魏时居在今嫩江与额尔古纳河之间。
③《魏书》卷 100,“乌洛候传”。
① 北齐武成帝河清二年(公元 583 年)《北齐书》载:“是岁室韦、库莫奚、靺鞨、契丹、并遣使朝贡。”这是有关靺鞨最早的文字记载。《旧唐书》“靺鞨后魏谓之勿吉。”《北史》“勿吉传”载:“勿吉国一名靺鞨。”
① [日]田边上雄《日本音乐讲话》载:“渤海的音乐近似朝鲜音乐。”
②《旧唐书》“北狄传”载“靺鞨人性凶悍,无忧戚,......”;《契丹国志》卷 28 载:“男子智谋骁 勇,出他国右至有三人渤海当一虎。”
③《隋书》“乐志”载:“开皇初年,(靺鞨诸部)相率遣使贡献,高祖因厚劳之,令宴饮于前,使 者与其徒皆起舞,曲折多战斗之容。”
④ 金毓 《渤海国志长编》“族俗考”载:“每岁时聚会作乐,先命善歌舞者数辈前行,士女相随更相唱和,回旋婉转,号曰‘踏锤’。
⑤ 见宋.陈旸《乐书》。
⑥ 金毓 《渤海国志长编》。
① [日] 善之助《日本文化史》。
② 见《渤海贞孝公主墓发掘清理简报》,载《社会科学战线》1981 年第 1 期。
③ 南宋.姜夔《白石道人诗集》。
① 明.蒋克谦《琴书大全》。
② 何昌林《三弦----渤海琴》,载《中国音乐》1989 第 4 期。
③ 王玖罡《乾隆艺苑揽胜》载:“靺鞨人的民族乐舞出使朝廷,于长安城和当地康衢戏、百戏共同 表演,互相学习交流技艺,而后经糅合加工产生了女童清音这一乐舞。”
④ 《渤海国志》卷四。
⑤ 参见《东北通史.上编 6 卷》。
① 《隋唐五代音乐史料》。
② 引自《渤海国音乐初探》。
③ 《乐府新声》1986 第 4 期,《隋唐五代音乐史料》。
① 宋.陈旸《乐书》。
① 《辽金元音乐史料》,上海文艺出版社 1986。
① 薛虹、李澍田主编《中国东北通史》。
② 见江应梁主编《中国民族史》。
① 《满族文学史》(一),沈阳出版社 1989 年版。
② 《大金国志》卷 39 载:“女真人婚姻制度”。
① 王国维《宋元戏曲史》载:“两宋戏剧,均谓之杂剧,至金而始有院本之名。”
② 王国维《宋元戏曲史》“金院本名目”。
①《中国戏曲曲艺词典》“虎头牌”条,第 452 页。
②《中国戏曲曲艺词典》“金安寿”条,第 470 页。
① 明.沈宠绥《度曲须知》。
② 载《中国音乐词典》“北曲”条,第 22 页。
③ 王国维《宋元戏曲史》“南戏之渊源及时代”。
① 明. 刘侗《帝京景物略》。
② 明.刘侗《帝京景物略》。
① 《御制律吕正义后编》“宴飨乐一. 瓦尔喀部乐舞”,卷 45,第 60 页。
② 《清史稿》卷 94,志 69,乐一,第一一册,第 2735 页。
③ 《钦定大清会典则例》(乾隆朝)“乐部”,卷 98,第 2 页。
④ 《钦定大清会典则例》(乾隆朝)“乐部”,卷 98,第 2 页。
① 载《御制律吕正义后编》“提要”:“曰祭祀乐、曰朝会乐、......”,卷 1,第 2 页。
②《清史稿》卷 101,志 76 载,清代乐制。
③ 万依、黄海涛《清代宫廷音乐》第 13—14 页。
①《御制律吕正义后编》“宴飨乐一”,卷 45,第 36 页。
②《御制律吕正义后编》“宴飨乐一”,卷 45,第 36 页。
① 《满族通史》第一编,第三章“女真改称满洲”,第 137 页。
① 见赵志忠《〈霓棠续谱〉与清代满族民歌》,载《满族研究》1989 第 3 期。
① 《中国民歌》(3),上海文艺出版社 1982 年版。
② 汤佑曾《莽式歌》:“莽式着,乐舞之名也”。第 14—16 页。
① 《东北二人转研究》,辽宁人民出版社。
② 引自《中国音乐辞典》。
① 《奉天通志》卷 214,人物 42 ,艺术。
② 《艺野知见录》中《子弟书的产生及其在东北之发展》和《漫话子弟书》。
① 清.曼珠震均《天咫偶闻》卷七。
② “芝兰诗社”由缪公恩等人组成,盛京将军晋昌支持。
③ “荟兰诗社”以韩小窗等为主成立。
④ 《金台杂俎》。
① 李啸仓《曲艺谈》“牌子曲的发生与发展”。
② 张长弓《鼓子曲言》中“鼓子曲与八角鼓牌子曲杂调比较观”。
③ 李啸仓《曲艺谈》中“牌子曲的发生与发展”。
④《单弦牌子曲分析》(王秀卿等传谱,于会泳编著)中《四板腔》。
① 《艺野知见录》中《漫话什不闲》。
① 吴长元《宸垣识略》。
②《承德地区曲艺志》河北省承德地区行署文化局《曲艺志》编辑部 1989 年 10 月印行。
① 隋书今《满族戏‘朱春’初探》。
① 《艺野知见录》中《戏曲与辽宁》。
① 《科尔沁博艺术初探》,哲里木盟文化处编。
1《中国古代音乐史稿》(上、下册) 杨荫浏著 2人;民20音03乐,出9版 第社 8 ,次1印98刷1,
2《中国传统音乐研究》 吕 骥 著 中 央 音 乐 学 院 出 版 社2004,12
3《中国传统音乐概论》 袁静芳编 上海音乐出版 2000,10;2001,11 第 2 次印刷
4《民族音乐学概论》 伍国栋著 人民音乐出版社 1997,3;2004,9 第 5 次印刷
5《满族音乐研究》 石光伟 刘桂腾凌瑞兰著 人民音乐出版社,2003,5
6《鄂伦春族萨满教研究》 关小云、王宏刚 辽宁人民出版社,1998,3
7《原始宗教》 朱天顺著 上海人民出版社,1978,9
8《萨满论》 富育光著 辽宁人民出版社,2000,9
9《中国宗教音乐》 田青主编 宗教文化出版社,1997,6
10《中国东北通史》 薛虹、李澍田主编 吉林文史出版社,1991,5
11《东北艺术史》 李浴、刘中澄、凌瑞兰等编 春风文艺出版社,1992年
12《东北各民族文化交流史》 孙进已著 年春 风文艺出版社,1992
13《中国少数民族乐器志》 袁炳昌,毛继增主编 新世界出版社,1986,5
14《驯鹿鄂温克人文化研究》 卡丽娜著 7辽 宁民族出版社,2006,
15《中国音乐词典》 缪天瑞,吉联抗,郭乃安主编人民音乐出版社,1984,1
16《中国地方志民俗资料汇编(东北卷)》 丁世良,赵放主编 书目文献出版社,1989,6
17《东北俗文化史》 王肯等编 春风文艺出版社,1992,7
18《金史》 元·脱脱等撰 中华书局,1975,7
19《清史稿》 赵尔巽等撰 上海古籍出版社,1986,2
20《满族通史》 李燕光,关捷主编 辽宁民族出版社,1991,7
21《宋元戏曲史》 王国维著 东方出版社,1996,8
22《满族音乐特色及其形成原因》 李丽莎 中中国国音音乐乐 学 1院98学6 报年 4 期
23《渤海国音乐初探》 陶亚兵 艺术研究 1986 年 2期 黑龙江省艺术研究所
24《锡伯族民间音乐及乐器》 黎蔷 声沈》阳1音99乐4 年学季院刊《 乐府新
25《锡伯族民歌和满族民歌的比较研究》 杜亚雄 中中国国音音乐乐 学 1院98学5 报年 1 期
26《明清乐:传到日本的中国音乐》 杨桂香 第大 会31 1 9届91国 年际 7传 月统香音港乐 学
27《中国满洲萨满音乐的原始特征》 冯伯阳 《乐府新声》1994 年增刊
28《科尔沁蒙古族萨满祭祀式音乐考》 刘桂腾 年中第央 音1 乐期学 院学报,2004
29《满族乐器选介》 笑宇 中国音乐,1989 年 3 期
30《北亚萨满鼓乐象征性处理之探讨》 李莉莎 大第会 31 1 9届91国 年际 7传 月统香音港乐 学
31《古代蒙古与高丽的音乐文化交流》 乌兰杰 中国音乐学,2003,2
32《辽金以前东北古代民族的音乐》 姚刚 牡200丹2,江5师 范学院学报,
33《蒙古萨满乐舞对近现代蒙古族乐舞的影响》 田小军 中央民族大学学报·哲学社会科学版 2004 年第 5期
34《东北单鼓的源流及其音乐特征》 刘桂腾 中国音乐学,1990,4
35《蒙古乐与满洲舞在清代的文化功能》 余少华 译哈本佛 大学,1996,中文节
36《具开拓性的中国地方音乐史研究成果──评凌瑞兰的东北音乐史研究》 修海林 乐府新声-沈阳音乐学院学报,2000,02
37《谈我国古代东北民族音乐文化交流》 朱季贤 中国音乐 1998,02
38《东北古代音乐传入中原的文化考察》 凌瑞兰 乐学报府 新19声94-,沈0阳4 音乐学院
39《秦、汉时代东北扶余族的音乐歌舞》 吕树坤 戏剧文学 1987,08
40《从满族乐器的形成看满族的兼容性》 李理 满族研究,1990,1