【作者】 栗建伟；

【导师】 李方元；

【作者基本信息】 华中师范大学 ， 中国音乐史与文献， 2008， 硕士

【摘要】 本文以五礼乐仪为视角,讨论周代礼乐制度在音乐上的反映。该文在经学成果基础之上,梳理了文献中关于周代五礼用乐的记载,通过对用乐仪节的细致汇考和辨析,理清了五礼用乐的基本程式,阐明了乐在五礼中的特点及其功能,并深入讨论了周代乐、礼与仪的关系。本文认为,乐在五礼中的存在既有因礼制束缚而形成之仪,同时也有因为乐本体的特性而形成之仪,两种乐仪在五礼中的存在具有程式性和规范性。本文共分为五章,第一章为绪论部分,概括了周代礼乐的一般情况以及前人关于本课题的研究现状,同时论述“乐仪”这一概念的含义。第二章论述了周代五礼乐仪的一些相关知识与概念。内容包括:礼仪前的准备情况、正乐前的金奏、正乐、正乐后的兴舞、无算乐、歌彻、乐出入之仪,这一部分是按照礼仪以及乐节的进程来安排顺序的;同时还讨论了关于歌管同工问题、乐起止之仪、相瞽矇之仪、献工之仪。第三章梳理了周代五礼乐仪程式,以吉、嘉、宾、军、凶五礼为框架和顺序研究乐在周代礼仪中的存在状态。吉礼中主要论述祭祖、祀天、祭地神三礼中的乐仪;嘉礼中主要论述了乡饮酒礼、乡射礼、两种燕礼、大射礼、养老礼之乐仪,以及其它嘉礼的用乐情况;宾礼中主要论述了各种朝聘礼中飨礼之乐仪和巡守礼之乐仪;军礼中主要论述了大阅礼之乐仪和征伐之乐仪;在凶礼中主要论述了伐鼓救日月之乐仪。第四章总结了周代五礼乐仪的特点,分别介绍了五礼乐仪的存在特征、乐仪在五礼中的功用、五礼用乐的一般准则等问题。最后一章是在以上四章的基础上,集中讨论了周代乐之仪这一问题。本文认为乐在周代礼仪中的使用不仅受到礼的约束而形成的仪,同时也因乐自身之特性而在礼仪中呈现一定之仪。更多还原

【Abstract】 In order to know the Zhou Dynasty ceremony system from music,we study the achievemengs of jing-xue(经学) starting with five ceremonies musical rite(乐仪).On the base of the rccordation of using of music in the Zhou Dynasty five ceremonies,we have clarify the form and character of using music in five ceremonies,and further investigated the relation among music,ceremony,and rite.We think that the existence of music in five ceremonies is because of the ceremony systems and the nature of music itself.Present paper consists of five chapters.Chapter 1 is the introduction which includes the general situation,the progress of the present subject,and the concept of "musical rite".Chapter 2 deals with the related knowledge and concepts in using music in the Zhou Dynasty five ceremonies.The first part of the chapter is arranged in the order of the progress of ceremony(礼),rite(仪),yue-jie(乐节).It includes the preparation of ceremony and rite,playing bronze instruments before the main musics,the main musics,dancing after the main musics,none-count-musics,ge-che,the out and in of musics.The second part is about the problem of ge-guan-tong-gong(歌管同工), ceremonies in the start and end of music(乐起止之仪),ceremonies in helping blind(相瞽矇之仪),and ceremonies in toasting musicians(献工之仪).Chapter 3 is arranged in the framework of five ceremonies:The sacrificial ceremony(吉礼),jia ceremony(嘉礼),guest ceremony(宾礼),military ceremony(军礼),and disaster ceremony(凶礼).In this paper,we investigate the existence situation of music in the Zhou Dynasty five ceremonies.The sacrificial ceremony is about musical rite in sacrificing ancestors(祭祖先)and sacrificing sky divinities(祭天神),sacrificing ground divinities(祭地神);the jia ceremony is mainly about the musical rite in xiang-yin-jiu eeremony(乡饮酒礼),xiang-she ceremony(乡射礼),banquet eeremony(燕礼),da-she ceremony(大射礼),yang-lao ceremony(养老礼) and so on;the guest ceremony talks about the musical rite in xiang-ceremony(飨礼) and patrol ceremony(巡守礼) of every kind of courter ceremony(朝聘礼);the military ceremony is mainly about the musical rite in reviewal ceremony(大阅礼) and invasion ceremony(征伐礼);the disaster ceremony is on the musical rite in fa-gu-jiu-ri ceremony(伐鼓救日). In chapter 4,we summarize the character of musical rite in Zhou Dynasty five ceremonies and talk about the existence character,usage,and the general rules of using music in five ceremonies.On the base of the four chapters,the last chapter is mainly about the problem of musical rite.We conclude that the formation of musical rite in the Zhou Dynasty is not only because of restriction of ceremonies,but also the nature of music itself.更多还原