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燕樂
Banquet Music
原指天子及諸侯舉行祭祀、宴享活動時所用的音樂，隋唐以后專指供宮廷宴享、娛樂用的各種俗樂。燕，通“宴”?！把鄻贰弊钤缫娪凇吨芏Y》，它一般采自民間及周邊少數(shù)民族的音樂，其特點是有歌有舞。可以說，雜用外族樂舞是“燕樂”起始就有的特色。隋唐時期，隨著外來音樂大量傳入中國，在漢族及少數(shù)民族民間音樂基礎(chǔ)上，廣泛吸收外來音樂，形成了專供宮廷宴享、娛樂用的“十部樂”?！把鄻贰本邮繕分住：笕藢⑺逄茣r期的這種包含中外各種元素、歌舞并舉、雅俗兼?zhèn)涞囊魳犯栉栊问揭部偡Q為“燕樂”。唐代的民間俗樂舞蹈都屬于燕樂，在宮廷郊廟、朝會等大型典禮活動中有時也會用到燕樂。燕樂后來一直延續(xù)至宋、元、明、清各朝，今天有些民間樂曲和傳統(tǒng)戲曲中的一些曲調(diào)，仍可見到隋唐燕樂的遺存。
This term referred originally to the music used by emperors, dukes and princes when they held rituals and feasts. Since the Sui and Tang dynasties, it had come to refer to various kinds of popular music played during feasting and entertainment at court. The term "banquet music" was first seen in The Rites of Zhou, at which time such music generally drew on the music of the common folk and neighboring ethnic minority groups, and comprised both songs and dances. It can be said that outside influence is a characteristic of banquet music from the beginning. During the Sui and Tang dynasties, when there was a great influx of foreign music into China, the so-called Ten Types of Music for feasting and entertainment at court were identified and categorized, among which banquet music was placed at the top of the list. Later generations would refer to the music and dance of Sui and Tang comprising elements from China and abroad, singing and dancing, refined and popular, as banquet music. The folk music and dance of the Tang Dynasty were all categorized as banquet music. Such music was also sometimes used in large ceremonial activities such as ancestral rituals and royal meetings. Banquet music lasted through the Song, Yuan, Ming and Qing dynasties, and even today some folk music and traditional opera tunes can still be found to have elements of the banquet music of the Sui and Tang dynasties.
引例 Citations：
◎宴樂，武德初未暇改作，每宴享，因隋舊制，奏九部樂。（杜佑《通典·樂六·坐立部伎》）
宴享樂，唐高祖武德初年無暇顧及改制新樂，每到宴享的時候，就沿襲隋代的制度，演奏九部樂。
Banquet music: In the early years of the Wude period, Emperor Gaozu of the Tang Dynasty did not have time to produce new music, so when it came to banquets, he followed the Sui system and had the Nine Types of Music played. (Du You: An Encyclopedic History of Institutions)
◎太宗增高昌樂，又造宴樂，而去禮畢曲，其著令者十部……而總謂之燕樂。聲辭繁雜，不可勝紀。凡燕樂諸曲，始于武德、貞觀，盛于開元、天寶，其著錄者十四調(diào)二百二十二曲。（郭茂倩《樂府詩集·近代曲辭一》）
唐太宗時增加了高昌樂，又創(chuàng)制宴享樂，刪掉了禮畢曲，其明確寫進規(guī)定的有十部音樂……總稱為燕樂。其音聲歌詞豐富復(fù)雜，無法全部記錄。凡是用作燕樂的各種樂曲，開始于武德、貞觀年間，盛行于開元、天寶年間，記錄在冊的有十四種樂調(diào)共計二百二十二首曲子。
During the reign of Emperor Taizong of the Tang Dynasty, Gaochang music was added, banquet music was created, and the ceremony-ending music was deleted. Ten types of music were explicitly incorporated... and together called banquet music. Their melodies and lyrics are too varied and complex to record here. Of the banquet music that was adopted during the Wude period of Emperor Gaozu and the Zhenguan period of Emperor Taizong, and continued to flourish in the Kaiyuan and Tianbao periods of Emperor Xuanzong, a total of 14 kinds of music tunes and 222 songs were recorded. (Guo Maoqian: Collection of Yuefu Poems)
推薦：教育部 國家語委
供稿：北京外國語大學(xué) 外語教學(xué)與研究出版社
責(zé)任編輯：錢耐安
