【作者】 栗建伟；

【导师】 李方元；

【作者基本信息】 华中师范大学 ， 专门史， 2014， 博士

【摘要】 本文是对周代礼乐的仪式研究,从礼仪用乐的仪式角度,研究乐在礼制中的作用。为解决这一问题,本文以文献学方法为主,以考古学及人类学的仪式音乐方法为辅来完成。并以文字、图片、乐类文物相结合形式进行论述。本文以礼、乐、仪三线索贯穿全文。礼,指在周代历史背景与五礼框架下,考虑周代礼制的建立、发展、鼎盛、崩坏进程；乐,指从乐之于礼的作用角度,探求礼、乐关系；仪,包含外在可观之“仪容”和内在规定之“仪则”。此线索表现为乐仪、礼乐关系、乐仪在礼乐关系中的作用三问题,并决定本文结构,分理论、文献、礼制、崩坏四部分。理论、文献部分乃解决第一问题,礼制、崩坏部分则解决后两个问题。理论部分,论述乐仪的乐器、乐舞、乐所、乐人、乐节、乐种六要素。乐器,有奏乐之器与节乐之器；乐舞,则从地域、乐节、射仪三角度论述；乐所,有空间、方位两层含义,从宫城结构及建筑内部结构论之；乐人,包含听乐之人和作乐之人两方面,后者论述其身份等级、性别、分类、仪位等内容；乐种,论礼乐、雅乐、燕乐、散乐、祭乐、房中乐、乡乐、缦乐的礼仪状态及相互关系。是为第一、二章。文献部分,包含文字、图片、乐类文物三种文献。文字部分,梳理“十三经”所载周代乐仪及前人研究。分经文记载、古人经解、今人研究三部分。是为第三章；图片部分,分析人们对周代乐仪所做的图解,根据五礼框架进行仪节分析。是为第四章；乐类文物部分,通过出土的乐类文物,弥补传世文献的不足。表现为对文献的补充、证伪、证明三个角度。是为第五章。礼制部分,主要讨论礼、乐关系。首先在导论部分,总论周代的礼、乐关系。其后从乐仪角度,分两章论述乐对礼制的两个维护作用。(1)以乐学礼,方式有二：从乐人学习礼,很多礼仪教育是在乐所中随乐人进行的,奏乐与学礼互不分离。学礼乐方式,有常时之教和临时之教两种,前者有正业、居学两种,后者有诏、教、谏三种；从作乐活动学习礼,在演习礼乐的活动(习舞、大合乐)中穿插、蕴涵礼之仪、义。(2)以乐行礼,包含作乐行礼、止乐行礼两方面。礼仪场合中乐的使用与否,均体现行礼目的。前者是在五礼框架下论述仪节随乐节而行之仪；后者论述周代禁乐之仪,指出当时存在通过禁乐以行礼现象。是为第六、第七章。崩坏部分,论述乐仪对礼制的破坏作用,可称为以乐坏礼。对礼制的僭越可通过乐仪反映出来。礼崩乐坏的过程正是乐仪变迁过程,新仪式取代旧仪式,新秩序代替旧秩序。本文从乐仪的地域、性别及接受三角度论述：(1)地域因素,西周乐舞多为西北周人之乐,至春秋以降,各地土风俗乐重新抬头,被当地人推崇,而冷落、排斥他人(周人)之乐。(2)性别因素,西周乐人为男性,东周时男女乐人混杂。女乐进入宫廷,冲击男性乐人地位,使后者四散而落入民间。(3)乐仪接受,对比西周礼乐与东周新乐的乐仪特点,论述西周乐仪的自身局限及吸引力下降问题。在这对比中,人们最终接受新乐,而对西周礼乐敬而远之。在这内外交困中,不可避免地出现礼崩乐坏现象。是为第八章。在结论部分,本文认为,礼乐的政治作用是在用乐仪式中实现的。西周礼乐仅是西北周人之乐,与列国之乐并存。周人希望在全国推广自己的乐仪,压制各地方俗乐及淫乐,实现移风俗、一天下目的。然而,春秋以降,随着周王室衰微,各侯国不再违心地顺从西周乐仪。或从情感上疏远之,而接受更适合自己的本地乐舞,以娱乐自己；或从政治上僭用之,不遵从西周乐仪,以与天子争夺权利。最后的展望部分,指出本文存在的不足及本课题继续研究的空间。更多还原

【Abstract】 This article is a Ritual Study of rites and music in Zhou Dynasty. From the perspective of the musical ritual, To Study the function of music in ritual. To solve this problem, this paper based methods of Bibliography, archeology and anthropology ritual music methods supplemented to complete. Research data in this paper consists of three parts, namely, text, pictures, music relics.In this paper, ritual, music, musical ritual three clues throughout the text, ritual, refers to the Zhou historical and Five Rites framework, studying the Process of the Zhou ritual’s establishment, development, peak, collapse process; music, from the perspective refers to the role of music in the rites, to explore the relationship of ritual and music; musical ritual, including Extrinsic appearance and the Internal requirements of the Rule. These three clues above leads to the musical Sequence, the relationship of ritual and music, the function of the musical Sequence in the relationship of ritual and music. And this determines the structure of this article was divided into four parts, that is, theory, literature, ritual, collapse. Theoretical, literature part is the first problem to solve, ritual, collapsing part to solve two problems later.Theoretical part discussing the musical ritual’s six elements, witch is Musical Instruments, Musical works, Music occasions, musicians, music sequences, Music Genres. Musical instruments, There are two kinds of musical instruments, witch is Playing musical instruments and Controlling music instruments; Musical works, From three aspects discussed, witch is Geographical factors, Controlling music factors, Archery program; Music occasions, Contains two meanings, such as space, orientation, also from The capital structure and the internal structure of the building; musicians, discussing the rank of their identity, gender, classification, space, orientation, etc; musical genres, discussing the Etiquette state and inter-relationships of every genres. Such as ritual’s music, Orthodox music, Banquet Music, Folk music, Sacred Music, Chamber Music, Country Music, Miscellaneous music. This is the first and second chapters.Literature part contains three documents, which are text, pictures, and music relics. In the text section, Carding the musical ritual and previous studies contained in "the thirteen classic works". This article was divided into Classic record, the ancients Research, and Today’s research three parts. This is the third chapter. In the picture section, the main job is to explain the picture of the music ceremony information, these pictures drawn by previous scholars. The writing mode of this part, mainly in the framework of the five rituals. This is the fourth chapter; in the musical relics section, the main task is to interpret the musical ritual information of the musical relics, to make up the lack of the musical ritual. Which includes three aspects, namely, supplements to the text, falsification, prove. This is the fifth chapter.Ritual part The main work is to study the relationship between ritual and music in Zhou Dynasty. First of all, in the introduction, the main work is to discuss the viewpoint of the relationship between ritual and music by the previously Scholars. Then, from the perspective of musical ritual, discusses the role of music for the Zhou ritual system.(1) Through music learning ceremony, there are two ways:from musicians to learn the ceremony, many of the ceremony education are conducted by the musicians in Music occasions, play music and ceremony education are not mutually separated. There are two ways to learn ritual music, the teaching content of fixed and of temporary; the former has two ways to learn, witch is the prescribed courses and Study at home. The latter has tree ways to learn, witch is Tell, teach, Remonstrance; from Music activities witch was Learning music and Instrumental ensemble to learn the ceremony, by Inserting the ritual and Cormotative meaning.(2) Through music to ritual, including Play music and No music. Ceremonial occasions, the use of music or not, are reflected salute purposes. The former are discussed in the framework of the five ritual ceremonies to run etiquette with music ritual; latter discusses the Ban Music Systems, and pointed out the phenomenon that salute the presence through the ban music. This is the sixth and seventh chapters.Collapse part discusses the role of music ritual of destruction, to be called Ceremonial destruction through music. The transgression of the ritual is reflected through music ritual. Ceremony Disintegration process is the process of music ritual changes, the new replaces the old ritual ceremony, the new order to replace the old order. We discuss three aspects to this issue, witch is Geographical factors, Gender, Acceptability:(1) geographical factors, the Western Zhou Music was Most belong to the music of the Northwest, After the Eastern Zhou Dynasty, Re-emergence of the local folk music, and was the locals like, and Do not like, exclusion others (Zhou Dynasty) music.(2) Gender, Play music of the Western Zhou Dynasty was men, Eastern Zhou period, male and female musicians mixed. Female musicians began to enter the palace, they impact the dominance of male musicians, so that the latter scattered and fell into civil.(3) Acceptability, In this section, we compare the Western Zhou music ritual and Eastern Zhou new music, Discusses the limitations of the Western Zhou Dynasty music ritual and its attractiveness fading phenomenon. In contrast, people eventually accept the new music, while the Western Zhou ritual at arm’s length. In this beleaguered situation, Ceremony Disintegration appeared inevitable. This is the Chapter VII.Conclusion the paper argues that the political role of ritual music is achieved through music ritual. Western Zhou ritual music is just Belong Zhou tribe in northwest, the music coexist with other tribes. Zhou people want the country to promote their music ritual to suppress the local folk music and Excessive music, Thus achieving shift customs, a world purpose. However, After the Eastern Zhou Dynasty, with the decline of the Zhou forces, Vassal state against their country no longer obeys the Western Zhou Dynasty music ritual. Means they resist, or alienated from the emotion, but to accept their feelings more suitable for local music to entertain themselves; or from a political point of transgression fails to comply with the Western Zhou arranged music ritual, and thus compete with the emperor rights.Prospect The main work of this part is to point out the deficiencies of this article, and found that those deserve to continue to study.更多还原