本文選題：《呂氏春秋》樂論　切入點(diǎn)：社會屬性　出處：《西南大學(xué)》2017年碩士論文

【摘要】：《呂氏春秋》樂論是中國音樂史書寫之鼻祖。最初的事物具有根本性意義。因此筆者以《呂氏春秋》樂論所表現(xiàn)的天人之際為依據(jù),采用文獻(xiàn)分析法、考據(jù)法、歷史研究法探討其中“樂”之自然、社會屬性。首先依據(jù)《呂氏春秋》諸篇篇名及主旨明確其樂論范圍,進(jìn)而確定此范圍中旨趣為“樂”的篇章。通過描述這些篇章的內(nèi)容以發(fā)掘其論“樂”所涉具體問題。將這些問題進(jìn)行分類并在此基礎(chǔ)上找出其論“樂”所涉重要因素。把這些因素視為核心概念,厘清概念間的關(guān)系,從而形成研究主題。此過程旨在解讀《呂氏春秋》樂論中論“樂”諸篇的具體內(nèi)容。其次根據(jù)《呂氏春秋》及其他相關(guān)文獻(xiàn)考核、證實(shí)、說明這些概念(因在方法上受到《呂氏春秋·適音》篇的啟發(fā),此過程中將首先確定這些抽象概念所表示的具體對象,以具體對象作為“載體”從而使這些抽象概念具體化,再審查其具體特征來實(shí)現(xiàn)對這些抽象概念的界定。)最終在此基礎(chǔ)上分析、解讀《呂氏春秋》樂論“樂”之自然、社會屬性�！秴问洗呵铩窐氛撏瞥绲摹皹贰笔恰按髽贰�。它的規(guī)定性是:“樂”之“律呂”本于“黃鐘之宮”;凡樂器有大、小、輕、重之標(biāo)準(zhǔn)者,其大、小、輕、重之標(biāo)準(zhǔn)應(yīng)本于黃鐘律管之管長;“樂”中“五音”之清濁本于黃鐘之宮;樂舞的創(chuàng)制也要遵守相應(yīng)之度量。此即是《大樂》所云“生于度量”之“大樂”�！皹贰敝匀粚傩允恰暗馈�,其通過君王以“度量”為法則制“樂”被施化于“樂”中�！皹贰敝鐣䦟傩允恰肮�(jié)欲”,其通過君王以“度量”為法則制“樂”被貫徹落實(shí)于“樂”中。形而上的“樂”之自然屬性(道)與形而下的“樂”之社會屬性(節(jié)欲)在“度量”這個(gè)制“樂”實(shí)踐操作層面上實(shí)現(xiàn)了統(tǒng)一。二者有如此關(guān)系:“樂”之自然屬性(道)→“樂”之“度量”→“樂”之社會屬性(節(jié)欲)。這種關(guān)系告訴我們“生于度量”之“樂”是用其“度量”載“道”、以“道”適欲,進(jìn)而教化天下,最終在社會層面實(shí)現(xiàn)了“大樂”所蘊(yùn)含的這個(gè)天人之義。
[Abstract]:The music theory of Lu's Spring and Autumn period is the ancestor of the writing of Chinese music history. The initial things are of fundamental significance. Therefore, based on the time of Heaven and Man embodied in the music theory of Lu's Spring and Autumn period, the author adopts the method of literature analysis and textual research. The historical research method probes into the nature and social attributes of "music". Firstly, according to the titles and purport of various articles in Lu's Spring and Autumn period, the scope of his theory of music is clarified. By describing the content of these texts, we can find out the specific problems involved in the discussion of "music". On the basis of this, we classify these problems and find out the important ones involved in "music". Consider these factors as core concepts, The purpose of this process is to interpret the specific contents of the various articles on music in Lu's Spring and Autumn period. Secondly, according to the examination of Lu Chun-qiu and other relevant documents, it is confirmed that, Explain these concepts (because they are inspired by the article "Lu's Spring and Autumn Sound adaptation"), in this process, the concrete objects represented by these abstract concepts will be first determined, and the concrete objects will be used as "carriers" to concretize these abstract concepts. Then review its specific characteristics to realize the definition of these abstract concepts.) on this basis, finally analyze and interpret the nature of the music theory of Lu Chun-qiu. Social attribute. The "music" advocated by the music theory is "great music". Its stipulation is that the "law" of "music" is based on the "palace of Huang Zhong", and that the musical instruments have the standards of big, small, light and heavy, which are big, small and light. The heavy standard should be based on the tube length of the Huang Zhong Rhythm, and the "five sounds" in "Yue" should be based on the Huang Zhong Palace. The creation of music and dance should also follow the corresponding measures. This is the "great music" of the cloud "born in measure". The natural attribute of "music" is "Tao", which is applied to "music" through the rule of "measure" of kings. The social attribute of "music" is "abstinence", which is carried out in "music" through the rule of "measure" by kings. The natural attribute (Tao) of metaphysical "music" and the social attribute of "music" in form. Abstinence (abstinence) has realized the unification on the level of practice and operation of "measure" the system "music". The relationship between the two is as follows: the natural attribute of "music" (Tao). 鈫，

本文編號：1667818