【作者】 曹贞华；

【导师】 秦序；

【作者基本信息】 中国艺术研究院 ， 音乐学， 2009， 博士

【摘要】 雅俗问题是中国文化史、艺术史研究中的重要问题。在中国古代，雅、俗问题有特定含义，主要指雅乐与俗乐(郑卫之音)，而崇雅贬俗一直是正统儒家士大夫的思想主张。但近几十年，雅乐在音乐史文化史上的地位和作用，从未得到肯定，雅乐的衍变历史也很少受到学界关注。中国素以“礼仪之邦”自豪，礼乐文化被视为中国传统文化的核心内容。“礼乐相须为用，礼非乐不行，乐非礼不举”，雅乐在传统礼乐文化中长期占有举足轻重的地位。随着非物质文化遗产保护工作的开展，雅乐作为一项重要的非物质文化遗产，受到韩国、越南等许多国家重视，已部分列入联合国“人类口头与非物质遗产代表作”名录。中国古代雅乐遗产的发展历史及其价值的重新认定，已经刻不容缓。雅乐最初形成于西周“制礼作乐”，广义而言，雅乐是周部族自己的音乐。盖“雅”即“夏”，指关中一带夏人旧地，周人的语言被称为“雅言”，周人之乐理所当然是“雅乐”。西周宫廷礼乐体系中的雅乐，既包括郊庙祭祀及朝会宴飨仪式用周人之乐，也包括继承、整理过的先周各朝庙堂礼乐。从而组成六乐六小舞等在内的郊社宗庙、朝会宴飨(飨食、飨射、宾客)、仪仗(出行、军征、凯旋)等广义雅乐。此外，宫廷礼乐还包含来自北方诸国的“风”及远方各国的四方乐、散乐等。随着周人封邦建国，在全国推行宗法制，雅乐随礼乐体制的推广，影响及于各诸侯国及远方周边国家，既是周人加强精神统治的工具，也成为“中国”文明高度发展的象征。完成于后世的《周礼》《仪礼》等文献，对宫廷雅乐体系有详细的追述记录，尽管有理想化加工，但也反映了服从于礼仪等级制度的“雅乐”的宏大严密与重大影响力。雅乐概念不仅有广义、狭义，在历史进程中其外延、内涵也不断变化。春秋后期，面对日益严重“礼坏乐崩”痛感“是可忍，孰不可忍”、以复周礼为自己崇高使命的孔子，明确提出“雅乐”即雅正之乐的概念。他身体力行推行传统的礼乐教育，极力谴责、贬抑对雅乐形成挑战的“郑卫之音”--当时广受欢迎的新乐、女乐。但是，孔子鼓吹之“雅乐”，多少改变、扩展了西周时期宫廷雅乐的性质和范围：他带领学生“诗三百篇”皆弦歌之，通称三百篇“思无邪”，却忽略了原先《诗经》中颂、夏(大夏、小夏即大雅、小雅)、风的明确区分，十五国“风”，在孔子这里也统统成为雅乐了。随着朝代更替、社会发展和文化繁荣等因素，雅乐的内涵与外延不断丰富与扩大，历代的雅乐皆较前代有所突破。自先秦开始，诸思想家即已围绕“雅俗”(雅郑)问题展开激烈的论辩。历代统治者在制定本朝礼乐时，也多重视此问题。为此引发了历史上诸多分歧与争议，但仍未从根本上辨明雅乐与俗乐二者在外延和内涵上究竟有何差别。雅乐作为统治阶级维护礼乐统治的重要组成部分，因囿于政治因素，在音乐上常表现出较为僵化、死板的特点，更被古往今来的学者视为礼乐制度的躯壳。但从历史的具体事实出发，可明晰地看出不同时代雅乐在外延与内涵上的具体变化。雅乐的发展离不开俗乐的艺术滋养，文献中亦多见雅乐与俗乐转换的事实，统治者意识形态中的“先王之乐”也多有来自民间音乐的成分。在一定的条件和环境下，雅乐和俗乐可以相互转换。20世纪西方文论中强调文本和语境的关系，同样的文本在不同的语境下会产生截然不同的性质。纵观中国古代音乐史中雅乐和俗乐的发展沿革，可清晰地看出：雅乐和俗乐既相互对立，又相互统一。二者在各自发展中，既相互比较，又相互存在；既相互较量与对抗，又相互渗透与汲取，并在一定条件下相互转化与融合。本文以西周到唐代的宫廷雅乐(不含古琴音乐及祭孔音乐等)为研究对象，对不同时代的雅乐进行较为全面地考量，主要对宫廷雅乐的范围及其所具有的仪式功能及文化属性等问题进行剖析，深入挖掘雅乐体系背后所蕴含的意义深远的“礼”的内核，力图将雅乐所赋予的更深层的文化意义揭示出来。更多还原

【Abstract】 Elegance and popularity is an important problem in Chinese cultural history andChinese artistic history.In ancient China,elegance and popularity has particularmeaning,mainly refers to Ya music and folk music (Zheng Wei Music),whileadvocate elegance debase popularity has always been the ideological views oforthodox confusion scholar-officials.But in recent several decades,the status andfunction of Ya music in musical history and cultural history,has never been affirmed.Academic circles has also rarely pay attention to the evolvement history of Ya music.China is usually proud of“the nation of ritual”,ritual and music culture isconsidered as the core content of Chinese traditional culture.“ritual and musicshould”,Ya music occupies significant status in traditional ritual and music culture.With the development of the protection of“Intangible Cultural Heritage”,Ya music asa vital“Intangible Cultural Heritage”,Korea and Viet Nam has been emphasized on it,and partly comes into UNESCO“Human Oral and Intangible Cultural Heritage”representative works list.The development history and re-cognize the value ofChinese ancient music---Ya music heritage has been no time to delay.Ya music was initially formed in West Zhou Dynasty“making ritual andcomposing music”.Generally speaking,Ya music is Zhou tribe its own music.“Ya”is“Xia”,is referred to Guanzhong area old region of Xia people.The language of ZhouPeople has called as“Ya Language”,so the music of Zhou People go without sayingis“Ya music”.Ya music of West Zhou Ya ritual and music system includes the musicof suburb temple sacrifice and Ya banquet ceremony,also contains inheriting andconsolidating the ritual and music of suburb temple in Pre-Zhou Dynasty.Thuscomposed such as“Six Music”,“Six Small Dance”etc suburb temple,Ya banquet,honor guard generally speaking“Ya music”.In addition to,Ya ritual and music is alsoincluded“Feng”from north countries,and“SiFang Yue”,“SanYue”from remotecountries.Zhou People enfeoff state and establish country,carrying out patriarchal clansystem in the whole country.With ritual and music system extended,Ya music hasinfluenced to every dukes’ country and remote peripheral country,that is tool of ZhouPeople to strengthen spiritual dominate,and also becomes the cultural symbol ofChina high development.Completed in later generations＜Zhou Li＞,＜Yi Li＞etcliterature,have detailed trace back to Ya music.Although these literatures have beenidealized processing,it also reflects which is submitted to ritual system“Ya music”essential influence. “Ya”Music not only has the generalized concept,but also has the narrowconcept,and also constantly changing in its historical process.In late Chunqiu,Confucius facing the increasingly serious“Destruction of rite and music system”,displeasure“If this can be tolerated,what cannot?”,take recovery of the West ZhouRitual as the mission,he clearly puts forward the concept of“Ya”Music as elegantlegitimism.He earnestly practices carrying out the ritual and music education andcondemns which has the formed challenge versus“Ya”Music—ZhengWei Music.But Confucius preach“Ya”Music,more or less change and enlarge the characterand range of West Zhou.He leads the students“three hundred poems”all playingqin and singing,generally speaking three hundred poems“thinking without evil”.Buthe neglects the distinguished the formerly Song,Xia,Feng of“book of songs”,inConfucius mind’s the Feng of fifteen country is totally becomes“Ya”Music.With theera substitution,social development and cultural prosperity,the connotation andextension of“Ya”Music has gradually enriched and enlarged.“Ya”Music of eachdynasty also makes a breakthrough than the former dynasty.From Pre-Qin Dynasty,various ideologists has already around the problem of“Ya”and“Su”expands intense argumentation.The rulers of each dynasty establishedhis own ritual and music has also pay attention to this problem.And initiatedhistorical bifurcation and controversy,but still not generally distinguished theconnotation and extension of“Ya”Music.“Ya”Music as the important aspect of the ruler’s ritual and music domination,because of the limitation of political factor,it usually manifests more fossilizationcharacter in music aspect,and also be considered as the empty shell of the ritual andmusic system.But begin with the historical truth,we can clearly see that theconnotation and extension of“Ya”Music has concrete change in different dynasty.The development of“Ya”Music unseparate the artistic nourish of“Su”Music.Wecan see many truth of the convert between“Ya”Music and“Su”Music in literature.The Music of“pre—emperor”in the ruler’s ideology has more come from folk musiccomponents.“Ya”Music and“Su”Music could be converted upon certain condition andenvironment.The western literary theory of 21 th century emphasizes on the text andcontext,the same text in different context could generate completely differentcharacteristic.Wide view on the development evolution of“Ya”Music and“Su”Music in Chinese ancient history,we can clearly see that“Ya”Music and“Su”Musicboth opposite and unified,both comparative and existing,they can be converted andintegration in certain condition. This dissertation focuses on from West Zhou to Tang Dynasty as research object,concentrates on“Ya”Music of different dynasty.Mainly discusses on the range of“Ya”Music and its ritual function,cultural attribute,deeply excavate the profoundsignificance behind the core of ritual,attempts to reveal the deep cultural significanceof“Ya”Music.更多还原