摘要
"郑声淫"之说最早见于《论语》,本指殷商以来殉于货色,恒于游畋的乐舞。春秋之后,礼崩乐坏,郑声作为比慢性质的音乐歌舞,人们指责其淫,称为乱世之音。汉代以来将民间音乐歌舞,不协于钟律,未有祖宗之事的作品都作郑声。郑声淫,伴随着先秦两汉的三次文化转型,虽名字依旧,但含义大不相同。
The lascivious Zheng music, first mentioned in the Analects, refers to the nomadic licentious dancing music since the time of Shang. After the Spring and Autumn, the Zheng music slows down its tempo and is called licentious music without steady rhythms. The lascivious Zheng music has experienced three cultural transformations.
出处
《河北师范大学学报（哲学社会科学版）》
北大核心
2008年第6期81-84,共4页
Journal of Hebei Normal University(Philosophy and Social Sciences)
基金
中国政法大学校级人文社会科学研究项目
关键词
孔子
郑声淫
文化转型
Confucius
lascivious Zheng music
cultural transformation
