西周至唐宫廷雅乐研究

发布时间：2018-05-04 12:04

本文选题：雅乐 + 礼乐　；参考：《中国艺术研究院》2009年博士论文

【摘要】： 雅俗问题是中国文化史、艺术史研究中的重要问题。在中国古代，雅、俗问题有特定含义，主要指雅乐与俗乐(郑卫之音)，而崇雅贬俗一直是正统儒家士大夫的思想主张。但近几十年，雅乐在音乐史文化史上的地位和作用，从未得到肯定，雅乐的衍变历史也很少受到学界关注。中国素以“礼仪之邦”自豪，礼乐文化被视为中国传统文化的核心内容。“礼乐相须为用，礼非乐不行，乐非礼不举”，雅乐在传统礼乐文化中长期占有举足轻重的地位。随着非物质文化遗产保护工作的开展，雅乐作为一项重要的非物质文化遗产，受到韩国、越南等许多国家重视，已部分列入联合国“人类口头与非物质遗产代表作”名录。中国古代雅乐遗产的发展历史及其价值的重新认定，已经刻不容缓。雅乐最初形成于西周“制礼作乐”，广义而言，，雅乐是周部族自己的音乐。盖“雅”即“夏”，指关中一带夏人旧地，周人的语言被称为“雅言”，周人之乐理所当然是“雅乐”。西周宫廷礼乐体系中的雅乐，既包括郊庙祭祀及朝会宴飨仪式用周人之乐，也包括继承、整理过的先周各朝庙堂礼乐。从而组成六乐六小舞等在内的郊社宗庙、朝会宴飨(飨食、飨射、宾客)、仪仗(出行、军征、凯旋)等广义雅乐。此外，宫廷礼乐还包含来自北方诸国的“风”及远方各国的四方乐、散乐等。随着周人封邦建国，在全国推行宗法制，雅乐随礼乐体制的推广，影响及于各诸侯国及远方周边国家，既是周人加强精神统治的工具，也成为“中国”文明高度发展的象征。完成于后世的《周礼》《仪礼》等文献，对宫廷雅乐体系有详细的追述记录，尽管有理想化加工，但也反映了服从于礼仪等级制度的“雅乐”的宏大严密与重大影响力。雅乐概念不仅有广义、狭义，在历史进程中其外延、内涵也不断变化。春秋后期，面对日益严重“礼坏乐崩”痛感“是可忍，孰不可忍”、以复周礼为自己崇高使命的孔子，明确提出“雅乐”即雅正之乐的概念。他身体力行推行传统的礼乐教育，极力谴责、贬抑对雅乐形成挑战的“郑卫之音”--当时广受欢迎的新乐、女乐。但是，孔子鼓吹之“雅乐”，多少改变、扩展了西周时期宫廷雅乐的性质和范围：他带领学生“诗三百篇”皆弦歌之，通称三百篇“思无邪”，却忽略了原先《诗经》中颂、夏(大夏、小夏即大雅、小雅)、风的明确区分，十五国“风”，在孔子这里也统统成为雅乐了。随着朝代更替、社会发展和文化繁荣等因素，雅乐的内涵与外延不断丰富与扩大，历代的雅乐皆较前代有所突破。自先秦开始，诸思想家即已围绕“雅俗”(雅郑)问题展开激烈的论辩。历代统治者在制定本朝礼乐时，也多重视此问题。为此引发了历史上诸多分歧与争议，但仍未从根本上辨明雅乐与俗乐二者在外延和内涵上究竟有何差别。雅乐作为统治阶级维护礼乐统治的重要组成部分，因囿于政治因素，在音乐上常表现出较为僵化、死板的特点，更被古往今来的学者视为礼乐制度的躯壳。但从历史的具体事实出发，可明晰地看出不同时代雅乐在外延与内涵上的具体变化。雅乐的发展离不开俗乐的艺术滋养，文献中亦多见雅乐与俗乐转换的事实，统治者意识形态中的“先王之乐”也多有来自民间音乐的成分。在一定的条件和环境下，雅乐和俗乐可以相互转换。20世纪西方文论中强调文本和语境的关系，同样的文本在不同的语境下会产生截然不同的性质。纵观中国古代音乐史中雅乐和俗乐的发展沿革，可清晰地看出：雅乐和俗乐既相互对立，又相互统一。二者在各自发展中，既相互比较，又相互存在；既相互较量与对抗，又相互渗透与汲取，并在一定条件下相互转化与融合。本文以西周到唐代的宫廷雅乐(不含古琴音乐及祭孔音乐等)为研究对象，对不同时代的雅乐进行较为全面地考量，主要对宫廷雅乐的范围及其所具有的仪式功能及文化属性等问题进行剖析，深入挖掘雅乐体系背后所蕴含的意义深远的“礼”的内核，力图将雅乐所赋予的更深层的文化意义揭示出来。
[Abstract]:The problem of elegance is an important issue in the study of Chinese culture history and art history . In the ancient times of China , the problem of elegance and customs has a certain meaning , which mainly refers to the ideas advocated by the Confucian scholar of orthodox Confucianism . But in recent decades , the status and function of Yaloin in the history of music history has never been affirmed , and the history of elegance has seldom been paid attention by the academic circle .

As an important non - material cultural heritage , it has been recognized by many countries such as South Korea and Vietnam as an important non - material cultural heritage , which has been partially listed in the list of " representatives of human oral and non - material heritage " of the United Nations .

Yele was originally formed in the western Zhou Dynasty , and in the broad sense , Yele is the music of Zhou clan ' s own . " Ya " , " Xia , " refers to the old land of Xia in Guan Zhong , and the language of Zhou people is known as " Ya ' an " . It also includes such broad sense as " wind " from the countries of the north and the square music and music of distant countries .

With the promotion of the rule of law in the whole country and the popularization of the system of music and music in the whole country , as the Zhou people seal the State , it is not only the tool of strengthening the spiritual rule by the Zhou , but also the symbol of the high development of the civilization of China . Although there is an idealization process , it also reflects the great and great influence of the " Ya Le " which is subordinate to the etiquette hierarchy .

In the late Spring and Autumn Period , the concept of " Ya Le " , namely Ya Zheng , was clearly put forward in the late spring and autumn period .

However , Confucius advocated the nature and scope of the palace ' s elegance in the Western Zhou Dynasty . He led the students to " three hundred articles " , which he led the students to " three hundred and three hundred articles " , and then neglected the original poems of Song Dynasty , Xia ( Xia , Xiaoxia , Daya , Xiaoya ) and the wind . The connotation and extension of Yalots were enriched and expanded with the change of the dynasty , social development and cultural prosperity .

Since the beginning of the Pre - Qin Dynasty , the thinkers have been talking about the " Ya Zheng " problem . The rulers of the past dynasties paid much attention to the problem during the development of this dynasty , which had led to many differences and disputes in history , but still did not fundamentally identify the differences between the two sides in the extension and connotation .

As an important part of the ruling class to maintain the rule of rites and music , Yle is often regarded as the body of the music system because of the political factors . However , from the specific facts of history , it can be seen clearly the concrete change of the elegance of the different times in the extension and connotation .

In the western literary theory , the relationship between the text and the context is emphasized in the western literary theory of the 20th century , and the same text will produce very different properties in different contexts .
They both compete against each other , penetrate and draw from each other , and transform and merge with each other under certain conditions .

This paper takes XiZhou Dynasty to Tang Dynasty as the research object , and makes a more comprehensive consideration to the music of different times . It mainly analyzes the scope of the royal court and the ritual function and cultural property of the royal court , and deeply analyses the profound meaning of " ceremony " in the back of the system and tries to reveal the deeper cultural meaning given by Jacob .

【学位授予单位】：中国艺术研究院
【学位级别】：博士
【学位授予年份】：2009
【分类号】：J609.2

【引证文献】