本文選題：樂(lè)府 + 禮樂(lè)��； 參考：《陜西師范大學(xué)》2014年碩士論文

【摘要】：本文主要以漢哀帝罷黜樂(lè)府為主線,結(jié)合西漢政治、經(jīng)濟(jì)、文化的背景,著重分析了漢哀帝罷黜樂(lè)府的原因及后續(xù)音樂(lè)機(jī)構(gòu)的設(shè)置,在此基礎(chǔ)上,從儒家禮樂(lè)思想的角度入手分析了“鄭聲”的深層含義。并把漢哀帝罷黜樂(lè)府作為歷史上一次文化政策決定社會(huì)文學(xué)藝術(shù)興衰的實(shí)例,粗略探討了“樂(lè)”與“政”的關(guān)系。通過(guò)剖析這些問(wèn)題,希望能讓讀者對(duì)樂(lè)府機(jī)構(gòu)及漢代音樂(lè)文化有更加精準(zhǔn)的了解,對(duì)政治的興衰與文化政策的關(guān)系有更深入的思考。 全文共分為五章,前兩章為第一部分,以樂(lè)府?dāng)U建前后的職能為主線,探討了關(guān)于樂(lè)府機(jī)構(gòu)的幾個(gè)具體問(wèn)題,一是秦時(shí)樂(lè)府概況,文章認(rèn)為秦代樂(lè)府是秦始皇政治大一統(tǒng)的產(chǎn)物,為達(dá)到思想上的高度統(tǒng)一,秦始皇不惜采用“焚書(shū)坑儒”的極端措施,面對(duì)東方六國(guó)絢麗多姿的音樂(lè)文化,很可能將樂(lè)府作為了管理俗樂(lè)的專(zhuān)門(mén)機(jī)構(gòu)。對(duì)中原俗樂(lè)的追求使秦時(shí)樂(lè)府機(jī)構(gòu)就具備了一定規(guī)模,掌握了大量的音樂(lè)資源,為后世擴(kuò)編樂(lè)府與太樂(lè)并立打下了基礎(chǔ)。二是樂(lè)府樂(lè)人的分類(lèi)及身份構(gòu)成,通過(guò)分析得出結(jié)論,樂(lè)府機(jī)構(gòu)固定人員的身份地位有兩類(lèi)一是國(guó)之賤隸、一是良家子。除了這兩類(lèi),還有一些諸如司馬相如一樣的文人、貴族,他們經(jīng)常參與到樂(lè)府的活動(dòng)中來(lái),但不是樂(lè)府的固定人員,國(guó)之賤、隸與良家子在樂(lè)府內(nèi)沒(méi)有地位高低的區(qū)分,沒(méi)有明確的分工。三是樂(lè)府的存在對(duì)漢代音樂(lè)文化的影響及意義。 第三、四章為第二部分,主要論述了罷黜樂(lè)府的原因及帶來(lái)的影響。對(duì)于原因的探討,本文不認(rèn)為《漢書(shū)》記載的哀帝“性不好音”是主因,也否定了經(jīng)濟(jì)困難,無(wú)力維持樂(lè)府機(jī)構(gòu)是主因。本文認(rèn)為作為一代帝王,維護(hù)統(tǒng)治是首要目的,尤其是國(guó)家處在岌岌可危的境地,所以政治因素占主導(dǎo)地位,而經(jīng)濟(jì)、文化原因是讓他做出這個(gè)決定支撐,尤其是文化因素。 第四章是對(duì)漢哀帝罷黜樂(lè)府影響的探討。罷黜樂(lè)府之后,對(duì)政治、經(jīng)濟(jì)的影響微乎其微,正如史書(shū)中記載的那樣,“百姓浸漬已久”,事實(shí)也確實(shí)如此,影響最大的是后世音樂(lè)機(jī)構(gòu)的設(shè)置。樂(lè)府消失后客觀上需要新的音樂(lè)機(jī)構(gòu)掌管俗樂(lè),由此引出了東漢有沒(méi)有音樂(lè)機(jī)構(gòu)替代樂(lè)府的問(wèn)題。在第四章中,根據(jù)現(xiàn)有的研究,扼要闡述了“黃門(mén)樂(lè)署”即是樂(lè)府替代機(jī)構(gòu)問(wèn)題的由來(lái),重點(diǎn)分析了黃門(mén)制度及黃門(mén)樂(lè)署的功能,通過(guò)對(duì)黃門(mén)樂(lè)署的發(fā)展歷史和功能的探究,得出黃門(mén)樂(lè)署延續(xù)了樂(lè)府的部分職能,但規(guī)模,功能差異非常明顯。接著又分析了另一種客觀存在的音樂(lè)形態(tài)即“掖庭女樂(lè)”,通過(guò)對(duì)它的分析得出結(jié)論,西漢樂(lè)府存在的同時(shí),也存在著其它與音樂(lè)相關(guān)的職能部門(mén),而且與樂(lè)府的關(guān)系非常密切,它們都以掌管俗樂(lè)為主。樂(lè)府機(jī)構(gòu)消失后,黃門(mén)樂(lè)與掖庭女樂(lè)的地位有所加強(qiáng),但都不能與西漢樂(lè)府相提并論。 第五章為本文的第三部分,是對(duì)漢哀帝罷黜樂(lè)府的的思考。首先探討了何謂“鄭聲”,鄭聲與衛(wèi)聲在春秋戰(zhàn)國(guó)時(shí)期是新樂(lè)的代表,孔子說(shuō)的“鄭聲淫”也還不是壞音樂(lè)的代表,他帶有強(qiáng)烈的感情色彩,更多的是對(duì)現(xiàn)實(shí)社會(huì)僭越成風(fēng),道德淪喪的痛恨。到了荀子的時(shí)候,面對(duì)當(dāng)時(shí)尖銳的社會(huì)矛盾,站在統(tǒng)治階級(jí)的立場(chǎng)徹底否定了鄭衛(wèi)之音,此后鄭衛(wèi)之音成了“淫樂(lè)”、“壞音樂(lè)”的代表。事實(shí)上漢哀帝時(shí)期的樂(lè)府音樂(lè)是很正常的音樂(lè),從它的功能及來(lái)歷講,當(dāng)時(shí)的樂(lè)府音樂(lè)就是西漢的雅樂(lè),因?yàn)闈h武帝時(shí)就是將這些音樂(lè)用于郊祀、宗廟、宴饗。哀帝沒(méi)有意識(shí)到導(dǎo)致國(guó)家貧弱的不是鄭聲,即使罷黜樂(lè)府也不能達(dá)到自己的目的。其次,探討了“樂(lè)”與“政”的關(guān)系。儒家學(xué)者倡導(dǎo)禮樂(lè)是服務(wù)于政治的,雅樂(lè)可以移風(fēng)易俗,治國(guó)安邦,可保子孫長(zhǎng)久安寧數(shù)百歲�？梢哉f(shuō)儒家禮樂(lè)文化準(zhǔn)確把握了文化與政治的關(guān)系,而積極進(jìn)步的藝術(shù)必然有利于政治的穩(wěn)定,政治的穩(wěn)定最終會(huì)促進(jìn)經(jīng)濟(jì)基礎(chǔ)的調(diào)整。儒家學(xué)者對(duì)雅樂(lè)的倡導(dǎo)對(duì)我們現(xiàn)今社會(huì)有重要借鑒意義,民族復(fù)興,文化先行,今天社會(huì)上各種文化潮流,有哪些是屬于這個(gè)時(shí)代的雅樂(lè),又應(yīng)該用什么樣的手段把它用于“移風(fēng)易俗”,值得思考。
[Abstract]:On the basis of the political, economic and cultural background of the Western Han Dynasty, this paper mainly analyzes the reasons for the dethrate of the Han Dynasty and the setting of the subsequent music institutions. On this basis, the deep meaning of "Zheng sound" is analyzed from the perspective of Confucian etiquette and music and the dethrate of the YueDi of the Han Dynasty as a historical one. The secondary cultural policy determines the rise and decline of social literature and art, and roughly discusses the relationship between "music" and "politics". Through the analysis of these problems, it is hoped that readers can have a more accurate understanding of the Yuefu institution and the music culture of the Han Dynasty, and think more deeply about the relationship between the rise and fall of politics and the relationship between cultural policies.
The full text is divided into five chapters. The first two chapters are the first part. Taking the functions of the Yuefu extension as the main line, the paper discusses several specific problems about the Yuefu institution, one is the general situation of the Qin Dynasty Yuefu, and the article holds that the Qin Dynasty Yuefu is the product of the political unification of the Qin Shihuang. The extreme measures, facing the magnificent and colorful music culture of the eastern six countries, are likely to use Yuefu as a special institution to manage the folk music. The pursuit of the folk music in the Central Plains has made the Qin Dynasty Yuefu institution a certain scale, mastered a large number of music resources, and laid the foundation for the expansion of Yuefu and Tai le for the later generations. Two is the classification of Yuefu music and the classification of Yue Fu people. Identity composition, through analysis, it is concluded that there are two categories of status status of the fixed personnel of Yuefu institution. One is the good family. In addition to these two categories, there are some scholars like Sima Xiangru and aristocrats. They often participate in the activities of Yuefu, but they are not the fixed personnel of the Yuefu, the base of the country, and the good families in Yuefu. There is no distinction between high and low status. There is no clear division of labor. The three is the influence of Yuefu on the music culture in the Han Dynasty and its significance.
The third, fourth chapter is the second part, mainly discussing the reasons for the removal of Yuefu and its influence. For the reasons, this article does not think that the "bad sound" of the emperor of the emperor of the "Han Book" is the main cause, and also denies the economic difficulties and is unable to maintain the Yuefu institution as the main cause. The state is in a precarious position, so the political factor is dominant, and the economic and cultural reason is that it supports him to make this decision, especially cultural factors.
The fourth chapter is the discussion of the effect of the dethrating the YueDi of the Han Dynasty. After the depose of the Yuefu, the influence on the politics and the economy is very little. As recorded in the history books, "the people have been impregnated for a long time", the fact is indeed true, and the greatest influence is the setting of later music institutions. This leads to the question of whether the Eastern Han Dynasty has an alternative to the music institution in the Eastern Han Dynasty. In the fourth chapter, according to the existing research, the origin of the "yellow gate Music Department" is the origin of the Yuefu alternative agency. It focuses on the analysis of the function of the yellow gate system and the yellow gate music department. Through the exploration of the history and function of the yellow gate Music Department, the yellow men music department is drawn. It continues the function of the Yuefu, but the scale, the function difference is very obvious. Then it analyzes another kind of objective music form, "Ye Ting female music". Through the analysis of it, it is concluded that there exist other music related vocational and energy departments at the same time in the Western Han Dynasty, and they are closely related to Yuefu. After the disappearance of Yuefu organization, the status of Huang men music and the women's music has been strengthened, but they can not be compared with the Western Han Yuefu.
The fifth chapter is the third part of this article, which is a reflection on the dethration of the Yuefu of the Han Dynasty. First, it discusses what is called "Zheng Sheng", Zheng sound and Wei Sheng are representatives of Xinle in the spring and Autumn period and the Warring States period, and Confucius's "Zheng Sheng prostitution" is also not a representative of the bad music. In the face of the sharp social contradictions at that time, Xunzi had completely negated the voice of Zheng Wei when he stood in the position of the ruling class at that time. After that, Zheng Wei Zhi Yin became the representative of "lore music" and "bad music". In fact, the music of the Yuefu period of the Han Dynasty was a very normal music music, from its function and origin, the music of the music at that time. It was the Yale of the Western Han Dynasty, which was used in the Han Wu Emperor, which was used in the suburban sacrifices, the temple, and the feast. The emperor did not realize that the state was not the sound of the poor and the country was not the sound of Zheng. Even if he had deposed the Yuefu, he could not achieve its own purpose. Secondly, it explored the relationship between "music" and "politics". It can be said that the Confucian etiquette and music culture can accurately grasp the relationship between culture and politics, and that the art of positive progress is bound to be conducive to political stability, and the political stability will eventually promote the adjustment of the economic basis. It is worth thinking about the significance, the national rejuvenation, the cultural advance, the various cultural trends in today's society, which are the Yale of this age, and what means should be used to "move the wind and the custom".
【學(xué)位授予單位】：陜西師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2014
【分類(lèi)號(hào)】：J609.2

【參考文獻(xiàn)】

相關(guān)期刊論文 前9條

1 匡檢洪;;淺談墨家思想及其反思[J];法制與經(jīng)濟(jì)(下半月);2007年07期

2 孫尚勇;黃門(mén)鼓吹考[J];黃鐘(中國(guó).武漢音樂(lè)學(xué)院學(xué)報(bào));2002年04期

3 ;漢代期門(mén)羽林考釋[J];歷史研究;1996年02期

4 陳四海;;樂(lè)府:始于戰(zhàn)國(guó)[J];音樂(lè)研究;2010年01期

5 謝元魯;漢唐掖庭制度與宮廷政治[J];天府新論;1999年03期

6 毛振華;;《左傳》鄭人賦詩(shī)考論[J];西安電子科技大學(xué)學(xué)報(bào)(社會(huì)科學(xué)版);2006年03期

7 王立;;中國(guó)古代樂(lè)戶研究[J];語(yǔ)文學(xué)刊;2011年13期

8 李宏峰;;傳統(tǒng)禮樂(lè)文化的內(nèi)在張力結(jié)構(gòu)[J];中國(guó)音樂(lè)學(xué);2007年04期

9 楊天宇;略論漢代今古文經(jīng)學(xué)的斗爭(zhēng)與融合[J];鄭州大學(xué)學(xué)報(bào)(哲學(xué)社會(huì)科學(xué)版);2001年02期

，

本文編號(hào)：1941915