本文選題：《詩(shī)經(jīng)》 + 樂(lè)器�。� 參考：《華中師范大學(xué)》2007年碩士論文

【摘要】： 本文以《詩(shī)經(jīng)》中的樂(lè)器為研究對(duì)象。其具體研究思路是：以《詩(shī)》原典為依據(jù)，通過(guò)對(duì)經(jīng)學(xué)文獻(xiàn)資料、出土文物實(shí)物資料、甲文、金文、古文字資料以及現(xiàn)代研究等資料中樂(lè)器資料的考察與研究，重點(diǎn)做了以下幾項(xiàng)工作：1、梳理了歷代詩(shī)經(jīng)學(xué)家有關(guān)《詩(shī)》中樂(lè)器的文獻(xiàn)資料；2、總結(jié)了《詩(shī)》中樂(lè)器問(wèn)題的源流和演變；3、探討了《詩(shī)》中幾種樂(lè)器的實(shí)狀與初形，尤其是對(duì)吹奏樂(lè)器“龠”及與其他竹類(lèi)吹管樂(lè)器的關(guān)系做了重點(diǎn)的討論�？傊疚氖且栽�(shī)經(jīng)學(xué)為背景，結(jié)合文獻(xiàn)學(xué)、考古學(xué)和文字學(xué)的綜合考據(jù)研究。 本文分四章。第一章為緒論，主要討論了兩個(gè)問(wèn)題：一是簡(jiǎn)述《詩(shī)經(jīng)》研究背景；二是闡述《詩(shī)經(jīng)》樂(lè)器研究狀況及其主要問(wèn)題，提出本文所要討論的三個(gè)主要問(wèn)題。 第二章為《詩(shī)經(jīng)·周頌·有瞽》“應(yīng)田縣鼓”中“應(yīng)”、“田”的考述，重點(diǎn)是對(duì)“田”的考述。首先是對(duì)“田”的歷史爭(zhēng)論進(jìn)行梳理，從毛、鄭的分歧與依據(jù)入手；對(duì)鄭派學(xué)者的辨證；毛派學(xué)者的辨證；非毛非鄭派學(xué)者的觀點(diǎn)及辨證幾個(gè)方面進(jìn)行討論，指出“田”應(yīng)與建鼓有關(guān)；其次，在此基礎(chǔ)上對(duì)考古發(fā)現(xiàn)的建鼓進(jìn)行形制及意義的分析，得出“田”為大鼓，即建鼓，是有“通神”作用，與上天進(jìn)行溝通的導(dǎo)引之鼓，“應(yīng)”為小鼓，懸于“田”兩側(cè)的結(jié)論。 第三章為《詩(shī)經(jīng)·小雅·鼓鐘》“以雅以南，以|e不僭”中“雅、南、|e”的考述。本章討論分為兩個(gè)方面：一是據(jù)《詩(shī)經(jīng)》學(xué)研究年代進(jìn)行劃分，從漢代學(xué)者、宋代學(xué)者、清代學(xué)者的論述三個(gè)部分對(duì)“雅”、“南”、“|e”古代文獻(xiàn)進(jìn)行綜論；二是對(duì)“南”進(jìn)行古文字學(xué)考察，郭沫若認(rèn)為其為樂(lè)器，唐蘭認(rèn)為其為瓦器，陳致認(rèn)為其為竹器。通過(guò)對(duì)以上說(shuō)法的比較，得出“南”作為樂(lè)器，在原始社會(huì)為竹制之樂(lè)器，至石器時(shí)代，由瓦制樂(lè)器代替，到了青銅器時(shí)代，發(fā)展為青銅制品鐘旽之類(lèi)樂(lè)器的結(jié)論。從而本文認(rèn)為“雅”、“南”為樂(lè)名，“|e”兼雅南，與上琴瑟鐘磐節(jié)奏齊同。 第四章為《詩(shī)經(jīng)》竹類(lèi)樂(lè)器的考述。首先據(jù)甲文和金文釋“龠”，認(rèn)為其為最早的斜吹單管樂(lè)器，實(shí)狀為賈湖出土的斜吹單管樂(lè)管，即“賈湖古龠”，后成為意符，，為竹類(lèi)樂(lè)器之“意”；其次，將“龠”與“|e”、“簫”、“篪”、“{簟�、◇a堋蔽逯種窶嗬制鶻卸哉仗致郟貿(mào)觥皘e”、“簫”、“篪”為“龠”系樂(lè)器，“{簟蔽皘e”之南音，是與“篪”的形制相類(lèi)似的橫吹按孔單管樂(lè)器，而“管”為吹類(lèi)樂(lè)器之總名，為竹類(lèi)樂(lè)器之“形”的結(jié)論。
[Abstract]:This article takes the musical instruments in the Book of songs as the research object. The specific research ideas are as follows: based on the original Code of Poems, through the investigation and study of the instruments in the literature of classics, the material of unearthed cultural relics, the literature of A, Jin, the ancient characters and the modern research, etc., In this paper, the author has done the following work: 1, combed the literature and materials of the scholars in the Book of Poems on musical instruments in the Book of Poetry, summed up the origin and evolution of the musical instruments in the Book of Poetry, and discussed the solid and initial forms of several musical instruments in the Book of Poetry. In particular, the relationship between Yue and other bamboo wind instruments is discussed. In a word, this paper is a comprehensive textual research of literature, archaeology and philology against the background of the Book of songs. This paper is divided into four chapters. The first chapter is the introduction, which mainly discusses two problems: the first is a brief introduction to the research background of the Book of songs, the other is to expound the research situation and the main problems of the instrument, and to put forward the three main problems to be discussed in this paper. The second chapter is "Ying" and "Tian" in "Yingtian County Drum", with emphasis on "Tian". First of all, the history of "Tian" is combed, starting with Mao, Zheng's differences and bases; Zheng's syndrome differentiation; Maoist scholars' differentiation; non-Mao non-Zheng scholars' views and dialectics; It is pointed out that "Tian" should be related to building drum. Secondly, based on the analysis of the shape and significance of the building drum discovered by archaeology, it is concluded that "Tian" is a large drum, that is, a drum, which has the function of "communicating with God" and communicates with heaven. "Ying" is a small drum, hanging on both sides of "Tian" conclusion. The third chapter is the textual research of "Ya, Nan, e" in the Book of songs, "south of Eya, not arrowhead". This chapter is divided into two aspects: first, according to the "Book of songs" research time division, from the Han Dynasty scholars, Song Dynasty scholars, Qing Dynasty scholars of the three parts of the "elegant", "South", "e" ancient documents were reviewed; The second is to investigate the ancient script of Nan. Guo Moruo regards it as an instrument, Tang Lan regards it as a clay ware, and Chen Zhi thinks it is a bamboo ware. Through the comparison of the above theories, the conclusion is drawn that "Nan" is a musical instrument made of bamboo in primitive society, replaced by earthen instruments in the Stone Age, and developed into instruments such as bronze products in the Bronze Age. Therefore, this article thinks that "Ya" and "Nan" are musical names, and "e" and Yannan are in harmony with the rhythm of Zhong Pan. Chapter four is the textual research of bamboo instruments in the Book of songs. First of all, according to the interpretation of "Yue" by Jia Wen and Jin Wen, it is considered as the earliest single wind instrument with oblique blowing, and the solid form is the one unearthed from Jiahu, that is, "Jia Hu ancient Yue", and then becomes the signifier, which is the "meaning" of bamboo instruments; secondly, it is the "meaning" of bamboo instruments. "Yue" and "e", "Xiao", "echi", "{bad" Lu Lu is difficult to breed the Uighur? What is it? Trade gong "," Xiao "," echi "for" Yue "is a musical instrument," {mat? The Nanyin of "Li e" is the conclusion that the shape of "echi" is similar to that of "echi", and that the "tube" is the total name of the blowing instrument and the "shape" of the bamboo instrument.
【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】：2007
【分類(lèi)號(hào)】：J609.2

【引證文獻(xiàn)】

相關(guān)期刊論文 前1條

1 韋勇軍;劉正國(guó);;長(zhǎng)沙馬王堆漢墓出土的竹管樂(lè)器“{簟泵家蒣J];南京藝術(shù)學(xué)院學(xué)報(bào)(音樂(lè)與表演版);2011年01期

相關(guān)碩士學(xué)位論文 前5條

1 鮑樹(shù)柏;古代漢語(yǔ)樂(lè)器名源研究[D];青海師范大學(xué);2010年

2 劉奕璇;《文選·賦》樂(lè)器描寫(xiě)及其文學(xué)表現(xiàn)研究[D];長(zhǎng)春師范學(xué)院;2011年

3 王華;《詩(shī)經(jīng)》樂(lè)器“八音”類(lèi)述[D];上海師范大學(xué);2011年

4 韋勇軍;長(zhǎng)沙馬王堆漢墓出土竹制橫吹樂(lè)管器名三考[D];上海師范大學(xué);2011年

5 唐萱;“八音”：歷史系譜與文化意涵[D];西南大學(xué);2012年

本文編號(hào)：1920305