摘要
《礼记·乐记》是中国古代音乐思想方面最全面的文献,向来备受古今中外学界的关注,但是对此的研究一直围绕着其作者与成书年代的问题进行,对其思想内容仍没有重大突破。一方面,比较《荀子·乐论》、《礼记·乐记》及《吕氏春秋》相关部分,可以看出《乐记》成书时接受了《荀子·乐论》以及不同来源的先秦思想,而其基本音乐术语不会晚于《吕氏春秋》的成书年代;另一方面,理解先秦诸子音乐话语及其对儒家礼乐的批判,对深入探讨《乐记》的成书动机及其各篇章的不同面向十分必要。《乐记》除了证明礼乐思想的正当性以外,也涉及音乐与情绪的密切联系,礼、乐概念的相辅相成,以及声、音、乐概念的系统化等各个方面。《乐记》集儒家音乐讨论之大成,其中有很多丰富的内容值得进一步探讨。
This paper argues that the Book of Music is not a homogenous text but rather the compilation of multiple conversations and compromises through the debates on music among different pre-Qin thinkers.With a careful analysis on musical terminology in the Book of Music compared with a similar chapter in Xunzi,and the Annals of LüBuwei,one can understand when and how the basic ideas of the different chapters of the Book of Music were formed.As a compilation of Confucian responses to various criticisms from pre-Qin thinkers,the Book of Music tried to establish the legitimacy of Confucian ritual music and its related discourse;it also explored the relationship of music and emotion,and systemized the basic framework of musical terminologies.
出处
《文史哲》
CSSCI
北大核心
2015年第6期73-89,165,共17页
Literature,History,and Philosophy
