摘要
"乐象"在《荀子·乐论》中初显端倪,而完善于《礼记·乐记》,作为礼乐文化、古音乐学中极其重要的范畴,它的产生、发展、延伸有其内在的理路。在"音""声""乐"三者的离合、勾连中,"乐象"保持了多义性与丰富性。在"音声舞"的变化中,"乐象"作为"歌乐舞"的合一,具有原生性、综合性,不能被其他后起、外来的概念所取代。
＂Yuexiang＂emerged in Yuelun of Xunzi, and perfectly developed in Yueji of Liji . It is the extremely important category in ancient musicology and Li-yue tradition, which has developed and extended in the inherent way. In addition, the ambiguity and plenty of it kept in the difference and identity of the ＂Sheng＂, ＂Yin＂ and ＂Yue＂. Because of the diversification and the synthesis,＂Yuexiang＂could not be replaced by a new coming and alien concept.
出处
《电子科技大学学报（社科版）》
2014年第4期95-98,共4页
Journal of University of Electronic Science and Technology of China(Social Sciences Edition)
