本文選題：歐陽修 + 音樂事件　； 參考：《華中師范大學》2017年碩士論文

【摘要】：歐陽修(1007-1072) 一生經(jīng)歷了真宗、仁宗、英宗、神宗四個時期。二十三歲的歐陽修于天圣八年(1030年)步入仕途;熙寧四年(1071年),六十四歲告老別朝。四十二年間他的身影穿梭于北宋都城與地方、朝堂與市集,與其好友一起看盡都城汴京與地方的風景,了解各處文化風俗,記錄下不少與音樂有關的詩歌與文字。北宋時期,音樂不僅存在于朝堂之上、廟宇之間用以展現(xiàn)皇家威儀,也出現(xiàn)在都市和地方郊外,展現(xiàn)宋代平民百姓的音樂生活和地方音樂風俗;同時在一些士大夫的家中也不時有宴飲舞樂。音樂在北宋成為人們日常生活的一部分。生活在北宋的音樂環(huán)境之中,歐陽修作為北宋士大夫,參與過朝堂、祭祀禮樂活動,觀看過地方風俗音樂。作為文人,歐陽修欣賞過樂人表演,本人也彈奏過古琴。與此同時,在歐陽修生活的北宋還有很多他沒有看到過的音樂,這些音樂不會因為歐陽修的不參與而不存在。相反,這些音樂構成了歐陽修生活時期音樂的一部分。也就是說,客觀存在于北宋的音樂與歐陽修的音樂生活有著十分緊密的聯(lián)系。在這樣的音樂環(huán)境中,歐陽修有自己的音樂思想。本文以歐陽修為研究對象,梳理、對比歐陽修及其好友關于北宋音樂的資料,總結歐陽修的音樂思想。本文由緒論、三章正文和結語構成。緒論部分說明本文的選題目的和意義、綜述與本文相關的研究成果以及本文的研究材料和方法。第一章主要梳理《歐陽修全集》、《全宋詩》、《全宋詞》、《全宋筆記》、《宋元筆記小說大觀》、《宋史》,以清明上河圖為參照。旨在構建歐陽修時期音樂社會的背景,分析歐陽修作為文人和士大夫兩種身份下對北宋音樂的態(tài)度。第二章首先將音樂存在的范圍縮小為歐陽修見到過的音樂;然后,梳理同一時期其它士大夫對這些音樂的看法,并與歐陽修進行對比。旨在構建歐陽修的音樂社會,說明在以儒道音樂思想為背景的主導下,歐陽修雖受到儒、道音樂思想的影響,但仍然與其他士大夫的音樂思想有所不同。第三章將進一步拉近了歐陽修與音樂的聯(lián)系,以景yP樂議、夷陵地方風俗音樂和歐陽修直接參與議論并表達觀點的音樂場景為背景,點明歐陽修的音樂思想。結語部分從三個角度總結歐陽修的音樂思想。北宋時期宮廷禮樂與外來音樂文化交融后,宮廷禮樂仍需占主流地位的思想;北宋宮廷禮樂與地方民俗音樂文化是否能同時兼容的思想;音樂樂人在音樂傳承過程中起到重要作用的思想。
[Abstract]:Ouyang Xiu (1007-1072) experienced four periods: true Zong, Renzong, Yingzong and Shenzong. Ouyang Xiu, 23, went on his career in eight years of Tiansheng (1030); Xining four years (1071), 64 years old. During 42 years, his figure shuttled through the capital and place of the Northern Song Dynasty, the Chaotang and the market, together with his friends, he saw the scenery of the capital city Bianjing and the place, understood various cultural customs, and recorded many poems and characters related to music. In the Northern Song Dynasty, music not only existed on the court, but also appeared in the city and the suburbs between the temples to show the music life and local music custom of the ordinary people in Song Dynasty. At the same time, in the home of some literati officials, also from time to time have banquets dance music. Music became a part of people's daily life in the Northern Song Dynasty. Living in the music environment of the Northern Song Dynasty, Ouyang Xiu, as a scholar in the Northern Song Dynasty, participated in the Chaotang, offered sacrifices to music, and watched the local customs and music. As a literati, Ouyang Xiu has seen musicians perform and I have played guqin. At the same time, in the Northern Song Dynasty where Ouyang Xiu lived, there was a lot of music he hadn't seen, and it didn't exist because Ouyang Xiu wasn't involved. Instead, they formed part of the music of Ouyang Xiu's life. That is to say, the music existing in the Northern Song Dynasty is closely related to the music life of Ouyang Xiu. In such a musical environment, Ouyang Xiu has his own musical ideas. This article takes Ouyang Xiu as the research object, combs, compares Ouyang Xiu and its good friend about the Northern Song Dynasty music data, summarizes Ouyang Xiu's music thought. This article is composed of introduction, three chapters text and conclusion. The introduction part explains the purpose and significance of this paper, summarizes the research results related to this paper and the research materials and methods. The first chapter mainly combs "Ouyang Xiu complete works", "all Song Poems", "all Song ci", "all Song Notes", "Song Yuan Notebook novels", "Song History", taking Ching Ming Dynasty as reference. The purpose of this paper is to construct the background of music society in Ouyang Xiu period and to analyze Ouyang Xiu's attitude towards music in Northern Song Dynasty as literati and literati. The second chapter firstly narrows the existence of music to the music that Ouyang Xiu has seen, and then combs the views of other literati officials on these music in the same period, and compares them with Ouyang Xiu. The purpose of this paper is to construct the music society of Ouyang Xiu, which shows that under the background of Confucianism and Taoism, Ouyang Xiu is influenced by Confucianism and Taoism, but it is still different from the music thoughts of other literati and bureaucrats. The third chapter draws closer the relationship between Ouyang Xiu and music and points out Ouyang Xiu's musical thoughts against the background of Jingyp music discussion, Yiling local custom music and music scene in which Ouyang Xiu directly participates in discussing and expressing views. The conclusion part summarizes Ouyang Xiu's music thought from three angles. After the mergence of court ritual music and foreign music culture in the Northern Song Dynasty, the palace ritual music still needs to occupy the mainstream position, and whether the court ritual music and the local folk music culture can be compatible at the same time in the Northern Song Dynasty; The idea that musical musicians play an important role in the process of music transmission.
【學位授予單位】：華中師范大學
【學位級別】：碩士
【學位授予年份】：2017
【分類號】：J609.2

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