本文全面揭示了清代乐府制度的新变,深入考察了清代宫廷蒙古音乐的历史渊源。首先,本文还原了清廷吸纳蒙古音乐的历史过程,揭示了其与北元宫廷音乐乃至蒙元宫廷音乐的密切关系,重点对明代岷峨山人苏志皋的《译语》和明萧大亨《北虏风俗》所反映的北元蒙古乐风进行了音乐学分析和音乐文献解读,肯定了漠北蒙古艺人史诗吟唱的存在>其次,探讨清宫蒙古音乐《笳吹乐章》与胡笳和呼麦的关系,对《塞宴四事》诗中的《什榜》诗进行了全面的解读,对“什榜”制度的设置及其与国家礼乐的关系也进行了揭示。关于《笳吹乐章》的重要配器之一口簧的形制和乐理,本文也进行了详细的剖析。本文所采取的研宄方法是:第一,古代文献与现代遗存相印证I第二,音乐学分析与诗学解读相结合,第三,田野调查与文献分析相结合,第四,个人的艺术实践与文献、文本分析相结合,第五,文学分析与历史学解读相结合>第六,丰富的第一手材料与现代性的阐释相结合。 This article fully reveals the new changes of the Yuefu system in the Qing Dynasty and deeply examines the historical origins of the Mongolian court music in the Qing Dynasty. First of all, this article restores the historical process of Qing court’s absorption of Mongolian music, reveals its close relationship with court music of the Northern Yuan Dynasty and even the court music of the Yuan Dynasty. It focuses on the translation of the “translated language” by Su Zhigao and Ming Xiao tycoon “ Customs ”reflects the music style of North yuan Mongolian music analysis and interpretation of music literature, affirmed the existence of mongolian Mongolian epic singing> Second, to explore the Mongolian Qing Dynasty Mongolian music << 笳 bleached movement >> and Hu 笳 and Humai’s relationship to The “Shi Bang” poem in the poem “Four Things in Seychelles” was comprehensively interpreted, and the establishment of the “Shibang” system and its relationship with the national ritual and music were also revealed. This article also carried out a detailed analysis on the formation and the musical theory of the spring of one of the important devices of the opera. The research methods adopted in this paper are as follows: First, the ancient documents and modern remains prove that I second, the combination of musical analysis and poetic interpretation, third, fieldwork and literature analysis, fourth, personal art Combination of practice and literature and text analysis. Fifth, the combination of literary analysis and historical reading. Sixth, a wealth of first-hand materials combined with the interpretation of modernity.