北宋雅樂的樂隊編成

Band arrangement of the Northern Song yayue(雅樂)

本論文的目的，是解釋北宋雅樂的樂隊編成。北宋初期，雅樂樂隊在唐、五代樂隊的基礎上編成。隨後，北宋王朝就以復興和繼承唐、五代樂隊為目標，持續努力著。在樂隊編成的樂器數量逐漸擴大其規模之際，其中，琴的總數達到最大。其理由除了琴最受喜愛之外，還與時人相當重視「聖數」的思想有關。這種思想產生於仁宗時代，並適用在琴弦方面。進而，此一思想在徽宗時代得到繼承，且一適用於琴的總數，樂隊也就達到了最大規模。從而，它表現了宇宙的調和，並成功地向聽眾說明了禮樂思想的理念。根據以上所論，筆者認為可以將北宋雅樂的樂隊編成區分為三個時期。此即，復興、繼承唐五代的北宋初期，以及產生北宋特有思想的仁宗時代，還有進一步發展其思想的徽宗時代。其中，特別是先行研究相對忽略掉的仁宗時代，是今後的研究必須深入探討之處。

The purpose of this paper is to interpret band arrangement of the Northern Song(北宋) yayue(雅樂). In the early stage, band of the Northern Song yayue was arranged on foundation of the Tang(唐) and Five Dynasties(五代), the Northern Song tried to revive and inherit band of the Tang and Five Dynasties. Musical instruments in the band increased gradually, the largest was qin(琴). The reason was that qin was the most loved instrument, and that 'the sacred number' was the most important idea. This idea was born in Renzong’s(仁宗) reign, applied to the qin string. It was inherited by Huizong(徽宗), and applied also to the number of qin, so the band became the largest scale ever. As a result, it succeeded in expressing harmony of the universe, and explaining the thought of liyue(禮樂) to audiences. Based on the above, the author pointed out that band arrangement of the Northern Song yayue can be divided into three periods. It is the early stage of the Northern Song, this period revived and inherited band of the Tang and Five dynasties; Renzong’s reign, this period produced idea unique to the Northern Song; Huizong’s reign, this period developed the idea. Especially, Renzong’s reign was overlooked in previous studies, the further research will be needed.