本文選題：歐陽(yáng)修 + 音樂(lè)事件�。� 參考：《華中師范大學(xué)》2017年碩士論文

【摘要】：歐陽(yáng)修(1007-1072) 一生經(jīng)歷了真宗、仁宗、英宗、神宗四個(gè)時(shí)期。二十三歲的歐陽(yáng)修于天圣八年(1030年)步入仕途;熙寧四年(1071年),六十四歲告老別朝。四十二年間他的身影穿梭于北宋都城與地方、朝堂與市集,與其好友一起看盡都城汴京與地方的風(fēng)景,了解各處文化風(fēng)俗,記錄下不少與音樂(lè)有關(guān)的詩(shī)歌與文字。北宋時(shí)期,音樂(lè)不僅存在于朝堂之上、廟宇之間用以展現(xiàn)皇家威儀,也出現(xiàn)在都市和地方郊外,展現(xiàn)宋代平民百姓的音樂(lè)生活和地方音樂(lè)風(fēng)俗;同時(shí)在一些士大夫的家中也不時(shí)有宴飲舞樂(lè)。音樂(lè)在北宋成為人們?nèi)粘Ｉ畹囊徊糠�。生活在北宋的音�?lè)環(huán)境之中,歐陽(yáng)修作為北宋士大夫,參與過(guò)朝堂、祭祀禮樂(lè)活動(dòng),觀看過(guò)地方風(fēng)俗音樂(lè)。作為文人,歐陽(yáng)修欣賞過(guò)樂(lè)人表演,本人也彈奏過(guò)古琴。與此同時(shí),在歐陽(yáng)修生活的北宋還有很多他沒(méi)有看到過(guò)的音樂(lè),這些音樂(lè)不會(huì)因?yàn)闅W陽(yáng)修的不參與而不存在。相反,這些音樂(lè)構(gòu)成了歐陽(yáng)修生活時(shí)期音樂(lè)的一部分。也就是說(shuō),客觀存在于北宋的音樂(lè)與歐陽(yáng)修的音樂(lè)生活有著十分緊密的聯(lián)系。在這樣的音樂(lè)環(huán)境中,歐陽(yáng)修有自己的音樂(lè)思想。本文以歐陽(yáng)修為研究對(duì)象,梳理、對(duì)比歐陽(yáng)修及其好友關(guān)于北宋音樂(lè)的資料,總結(jié)歐陽(yáng)修的音樂(lè)思想。本文由緒論、三章正文和結(jié)語(yǔ)構(gòu)成。緒論部分說(shuō)明本文的選題目的和意義、綜述與本文相關(guān)的研究成果以及本文的研究材料和方法。第一章主要梳理《歐陽(yáng)修全集》、《全宋詩(shī)》、《全宋詞》、《全宋筆記》、《宋元筆記小說(shuō)大觀》、《宋史》,以清明上河圖為參照。旨在構(gòu)建歐陽(yáng)修時(shí)期音樂(lè)社會(huì)的背景,分析歐陽(yáng)修作為文人和士大夫兩種身份下對(duì)北宋音樂(lè)的態(tài)度。第二章首先將音樂(lè)存在的范圍縮小為歐陽(yáng)修見(jiàn)到過(guò)的音樂(lè);然后,梳理同一時(shí)期其它士大夫?qū)@些音樂(lè)的看法,并與歐陽(yáng)修進(jìn)行對(duì)比。旨在構(gòu)建歐陽(yáng)修的音樂(lè)社會(huì),說(shuō)明在以儒道音樂(lè)思想為背景的主導(dǎo)下,歐陽(yáng)修雖受到儒、道音樂(lè)思想的影響,但仍然與其他士大夫的音樂(lè)思想有所不同。第三章將進(jìn)一步拉近了歐陽(yáng)修與音樂(lè)的聯(lián)系,以景yP樂(lè)議、夷陵地方風(fēng)俗音樂(lè)和歐陽(yáng)修直接參與議論并表達(dá)觀點(diǎn)的音樂(lè)場(chǎng)景為背景,點(diǎn)明歐陽(yáng)修的音樂(lè)思想。結(jié)語(yǔ)部分從三個(gè)角度總結(jié)歐陽(yáng)修的音樂(lè)思想。北宋時(shí)期宮廷禮樂(lè)與外來(lái)音樂(lè)文化交融后,宮廷禮樂(lè)仍需占主流地位的思想;北宋宮廷禮樂(lè)與地方民俗音樂(lè)文化是否能同時(shí)兼容的思想;音樂(lè)樂(lè)人在音樂(lè)傳承過(guò)程中起到重要作用的思想。
[Abstract]:Ouyang Xiu (1007-1072) experienced four periods: true Zong, Renzong, Yingzong and Shenzong. Ouyang Xiu, 23, went on his career in eight years of Tiansheng (1030); Xining four years (1071), 64 years old. During 42 years, his figure shuttled through the capital and place of the Northern Song Dynasty, the Chaotang and the market, together with his friends, he saw the scenery of the capital city Bianjing and the place, understood various cultural customs, and recorded many poems and characters related to music. In the Northern Song Dynasty, music not only existed on the court, but also appeared in the city and the suburbs between the temples to show the music life and local music custom of the ordinary people in Song Dynasty. At the same time, in the home of some literati officials, also from time to time have banquets dance music. Music became a part of people's daily life in the Northern Song Dynasty. Living in the music environment of the Northern Song Dynasty, Ouyang Xiu, as a scholar in the Northern Song Dynasty, participated in the Chaotang, offered sacrifices to music, and watched the local customs and music. As a literati, Ouyang Xiu has seen musicians perform and I have played guqin. At the same time, in the Northern Song Dynasty where Ouyang Xiu lived, there was a lot of music he hadn't seen, and it didn't exist because Ouyang Xiu wasn't involved. Instead, they formed part of the music of Ouyang Xiu's life. That is to say, the music existing in the Northern Song Dynasty is closely related to the music life of Ouyang Xiu. In such a musical environment, Ouyang Xiu has his own musical ideas. This article takes Ouyang Xiu as the research object, combs, compares Ouyang Xiu and its good friend about the Northern Song Dynasty music data, summarizes Ouyang Xiu's music thought. This article is composed of introduction, three chapters text and conclusion. The introduction part explains the purpose and significance of this paper, summarizes the research results related to this paper and the research materials and methods. The first chapter mainly combs "Ouyang Xiu complete works", "all Song Poems", "all Song ci", "all Song Notes", "Song Yuan Notebook novels", "Song History", taking Ching Ming Dynasty as reference. The purpose of this paper is to construct the background of music society in Ouyang Xiu period and to analyze Ouyang Xiu's attitude towards music in Northern Song Dynasty as literati and literati. The second chapter firstly narrows the existence of music to the music that Ouyang Xiu has seen, and then combs the views of other literati officials on these music in the same period, and compares them with Ouyang Xiu. The purpose of this paper is to construct the music society of Ouyang Xiu, which shows that under the background of Confucianism and Taoism, Ouyang Xiu is influenced by Confucianism and Taoism, but it is still different from the music thoughts of other literati and bureaucrats. The third chapter draws closer the relationship between Ouyang Xiu and music and points out Ouyang Xiu's musical thoughts against the background of Jingyp music discussion, Yiling local custom music and music scene in which Ouyang Xiu directly participates in discussing and expressing views. The conclusion part summarizes Ouyang Xiu's music thought from three angles. After the mergence of court ritual music and foreign music culture in the Northern Song Dynasty, the palace ritual music still needs to occupy the mainstream position, and whether the court ritual music and the local folk music culture can be compatible at the same time in the Northern Song Dynasty; The idea that musical musicians play an important role in the process of music transmission.
【學(xué)位授予單位】：華中師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2017
【分類(lèi)號(hào)】：J609.2

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