兩宋之交宮廷音樂研究——兼論徽、高、孝宗三朝之雅俗沉浮

Abstract

兩宋之交發生靖康之難，舉國南遷，宮中禮樂器用、制度皆付之闕如，本文以頌樂及燕樂為兩個觀察向度。在此時期，頌樂僅在徽宗時期有大規模的製作，南宋初年皆務崇檢簡、較為內斂；對於音樂「雅」的要求以及排除俗樂的概念，徽宗時期是個鮮明的趨勢，經亂世後，此趨勢驟降乃至於平緩。這段時間內，俗樂不受制度興廢及器樂之影響，仍在民間流動，並且藉由宮廷、民間階層的互為交融以及空間上的南北遷移，而有了新的面貌。可以看出俗樂的勢力在這一時期，不但沒有被削弱，反而節節上升，雅樂門檻下降、俗樂興盛蓬勃，同時也因為南宋朝廷搜羅舊樂，取材於南方各路，使得民間的元素流入宮廷。俗樂、地方性音樂的興盛不但反映在宮廷燕樂的使用，也顯示在學者士大夫的教學雅集，以及民間的結社上。從各方面來觀察，兩宋之交宮廷所面臨的歷史交替和空間轉換，都影響著宮廷音樂的發展，而宮廷音樂雅俗沉浮的現象，正如實展現了宋代本身特有的文化性質。

With the Jingkang disaster and the withdrawal of the court to the South, the dynastic succession between Northern and Southern Song was characterized by the relinquishment of court musical instruments and the faltering of court musical institutions. Within this period, only under Huizong’s reign was ritual music the object of major reforms and grandiose developments; thrift and simplicity defined ritual music in the Southern Song’s early years. Similarly, while there was a radical stance against folk music and an emphasis on elegance and classicism under Huizong in imperial court music, the state of affairs thereafter led to a moderation of these postures. Folk music, which did not suffer from the institutional deliquescence and the loss of court instruments, gained in importance from Gaozong on. The main reasons for the rise of folk music were the North-South spatial reshuffle, the new interactions between the former court elite and the rest of society, and the originally vibrant Song social and cultural life—including music—among the populace.