听觉帝国:隋朝的音乐正统与奇观

IF 0.3 4区 社会学 0 ASIAN STUDIES Early Medieval China Pub Date : 2022-09-21 DOI:10.1080/15299104.2022.2101770
Lu Kou
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引用次数: 0

摘要

589年,隋朝征服陈后,成为一个强大的帝国,统治着南北两个地区,这是一个幅员辽阔的地区,具有独特的地区文化和习俗。为了营造政治团结的印象,隋朝启动了一系列项目,旨在对偏远地区实施中央控制,并调和不同文化群体的利益。这种迪斯科舞厅的意识形态没有比音乐更好的表达方式了,音乐包括音乐表演、歌词创作、音高和音阶的标准化。本文考察了隋朝第一个十年的音乐政治和“听觉帝国”的创建。具体而言,它考察了当时的帝国臣民是如何看待和表达隋朝礼乐的,包括其历史和公开展示。根据朝廷的奏折、历史记录和诗歌,我认为,隋的音乐谱系——正统音乐是如何由隋传播和继承的——是经过精心构建的,在帝国早期经常受到质疑,描述观众观察隋音乐表演的经历的诗歌揭示了朝臣对音乐作为帝国说服工具的矛盾态度。
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Audible Empire: Musical Orthodoxy and Spectacle in the Sui Dynasty
After conquering the Chen in 589, the Sui became a powerful empire that ruled over both the northern and southern regions, a vast territory that featured distinct regional cultures and customs. To foster an impression of political unity, the Sui court initiated a series of projects aimed at implementing central control over remote areas and reconciling interests of different cultural groups. This ideology of concordia discors found no better avenue of expression than music, which included musical performance, lyric composition, and standardization of pitches and musical scales. This article investigates the politics of music and the creation of an “audible empire” in the first decade of the Sui. Specifically, it examines how imperial subjects at the time perceived and articulated the Sui court ritual music, including both its history and its public display. Based on court memorials, historical records, and poems, I argue that the Sui’s musical lineage—how the music of orthodoxy was transmitted and inherited by the Sui—was carefully constructed and often contested in the empire’s early years and that poems that describe viewers’ experience of observing the Sui music performance reveal courtiers’ ambivalent attitudes towards music as an imperial tool of persuasion.
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来源期刊
Early Medieval China
Early Medieval China ASIAN STUDIES-
CiteScore
0.30
自引率
0.00%
发文量
8
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