【摘要】：《樂經(jīng)元義》作者劉濂生活在明代嘉靖、正德年間。而這一時期的學術思想由明初“家孔孟、戶程朱”，千人一面的狀況開始向“彰顯個人意識和批判精神”的方向轉變，《樂經(jīng)元義》正是在這樣的學術氛圍下產(chǎn)生的。劉濂一門心思探尋“樂經(jīng)”，硬解“周樂”，他認為周代“樂經(jīng)”，并非像漢人所說的那樣“灰飛煙滅”，只是前賢不但未曾發(fā)掘“樂經(jīng)”，而且給“周樂”蒙上了神秘色彩。所以，他為了澄清圣人制樂的初衷，撰寫了《樂經(jīng)元義》。從該著中我們可以看到劉濂敢于挑戰(zhàn)鴻儒，反對附會經(jīng)典的批判意識，反映了他學術上負責與務實的積極態(tài)度。同時也應該看到他在樂律研究方面的局限性，尤其是在評論宋代以來某些樂律爭議時，有不少誤判或誤解。盡管如此，劉濂的《樂經(jīng)元義》仍然具有一定的研究價值，，它不僅是反映出明代樂律爭鳴的史實，而且可以反證宋以來一些樂律學說的價值與真?zhèn)巍?br/>[Abstract]:Liu Lian lived in Jiajing and Zhengde years in Ming Dynasty. The academic thought of this period began to change from "home Confucius and Mencius, Hu Cheng Zhu" in the early Ming Dynasty to the direction of "showing personal consciousness and critical spirit". It was in this academic atmosphere that Yuejing Yuan Yi came into being. Liu Lian devoted himself to exploring the music sutras and trying hard to understand Zhou Le. He believed that the music sutras of the Zhou Dynasty were not "lost" as the Han people said, but only that the former sages had not only failed to discover the "music sutras", but also had a mysterious color on the "Zhou Le". Therefore, in order to clarify the original intention of the sage to make music, he wrote Yuejing Yuan Yi. From this work, we can see that Liu Lian dares to challenge Hongru and oppose the critical consciousness of the attached classics, which reflects his positive attitude of academic responsibility and pragmatism. At the same time, we should also see his limitations in the study of music law, especially in commenting on the controversy of some music laws since the Song Dynasty, there are a lot of misjudgments or misunderstandings. In spite of this, Liu Lian's Yuejing Yuan Yi still has certain research value, it not only reflects the historical facts of Ming Dynasty music and law contending, but also can countervail the value and authenticity of some music law theories since Song Dynasty.
【學位授予單位】：武漢音樂學院
【學位級別】：碩士
【學位授予年份】：2013
【分類號】：J612

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相關期刊論文 前1條

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