【作者】 付林鹏；

【导师】 曹胜高；

【作者基本信息】 东北师范大学 ， 中国古代文学， 2013， 博士

【摘要】 乐官是两周王官的重要组成部分，在先秦礼乐文化的奠基中，起着十分重要的作用。本文以“两周乐官的文化职能与文学活动”为题，通过相关问题的探讨，透视周代礼乐文明的形成、发展及消解过程，这表现在：通过对乐官体系历史建构和演进脉络的考察，可以还原西周雅乐文化的形成轨迹；通过对乐官机构人员设置和运行机制的考察，可以揭示两周文学活动的生产基础；通过对具体乐官文化职能的考察，可以反映两周礼乐文明的不同侧面；通过对特殊乐官日常职责的考察，可以了解两周乐教和乐政活动过程中的时间维度；通过对《诗》、《乐》二经成书情况的考察，可以展现乐官和其他王官相互协作的成果样本。全文共分七章：第一章主要探讨了西周乐官系统及雅乐体系的确立过程。西周初年，定鼎天下，进行乐制改革，一方面，前代乐制是周人制礼作乐的重要资源，另一方面，殷乐官的奔周之举，不但给周人带来先进的音乐文化体制，还确立了以瞽矇为主体的乐官系统。西周雅乐体系确立之后，周人还推行赐乐制度，保证了从周王室到诸侯国都被纳入到礼乐治国的规范当中，但同时殷商乐文化所遗留的不稳定因素，也为日后的礼崩乐坏埋下了伏笔。另外，本章还考察了被孔子视为雅乐典范的《韶》乐，通过其在三代的传承情况，还原出上古乐舞是如何被整合到周乐体系之中的。第二章主要从职能属性、人员设置及管理机制三个方面考察了《周礼》中的乐官系统。就职能属性而言，乐官一身兼有礼官属性、教官属性和专业属性三个方面；就人员设置而言，《周礼》中的乐官主要有两个层级组成，一是乐官层级，二是乐吏层级，两者在权责、礼遇等方面有着很大的区别；就管理机制而言，乐官的管理既遵从《周礼》整体的治官方法，又具有自身的特殊性。第三章主要探讨了大司乐系统对两周国子的教育职能。本章选取了乐语之教、乐仪之教和乐舞之教三个角度，透视周代的乐教体系。其中，乐语之教主要培养了国子作诗、用诗及解诗的能力，作为行政、外交及其参与各项礼仪活动的话语手段；乐仪之教主要了培养了国子的气质威仪，使其具有自内而外的精神气度，成为民之表率；乐舞之教是以周代所存的六代乐舞教授国子，使其能够参与各种祀典，从而获得参与国家治理的资格。第四章主要探讨了瞽矇系统的专业文化职能。其一，瞽矇具有听风职能。早在上古时期，瞽矇乐官因具备高超的听力，能够体天道而验人道，被尊为圣人，后随着其听风职能的弱化，逐渐演变为负责听声的乐工；其二，瞽矇具有历史书写的职能。通过与史官的互为官联，瞽矇在世系书写、史诗创作等方面，都起到着非常重要的作用；其三，瞽矇还具有献曲职能。作为专业乐工，瞽矇还负责为诗配曲，“六诗”之中的赋、比、兴不但是三种诗歌传述方式，还是太师为诗配曲过程中的三个重要步骤。第五章主要从时间的维度考察了乐官的日常职责。就乐教而言，一方面，因四时之序的不同，乐官对国子的教学内容有所不同；另一方面，乐官还需结合不同年龄段的身体素质，来安排课程计划。就乐政而言，《礼记·月令》记载了乐官一年的日程安排，大都是仪式过程的备乐和用乐。另外，周代还保存了从先周遗留下来的一类职官，即籥师，专门负责迎寒暑、祈年、祭蜡等岁时祭的用乐演奏。第六章主要考察了乐官之外各类王官的音乐文化职能，这主要表现在对行人系统和国史系统的探讨上。行人系统不但是《诗经》采集的主要操作者，也是外交用诗的主要实施者，对于《诗经》从世俗化走向经典化作用最大。国史系统，则是《诗经》文本的主要整理者和记录者，新整理清华简《周公之琴舞》等材料的公布，为后人了解《诗三百》结集前的文本形态提供了佐证。第七章主要考察了《乐经》的成书及性质问题。《乐经》的形成，是商周雅乐体系的总结，其形式当是与《诗经》等相配的音乐形态，东周时期周室衰微，雅乐演奏渐次消散，至春秋末，已少见雅乐系统之演奏。孔子师生论乐重义理而轻演奏，使得《乐记》等儒门乐论开始形成，成为后代论乐的主要模式。《乐经》丢失后，《乐纬》所依据的文本变成了《周礼·大司乐》和《礼记·乐记》。据现存资料而言，《乐纬》对二者的阐释主要集中在五声论、八音论、古乐论三个方面，由此亦可还原出古《乐经》的部分内容。更多还原

【Abstract】 Musical Officer is one of the most important elements in the officials of ZhouDynasty, and plays a significant role in laying a foundation for the ritual music cultureof pre-Qin period. This dissertation will focus on the cultural functions and literaryactivities of musical officers in Zhou Dynasty, and discuss the related issues to findthe forming, developing and deconstructive process of “civilization of rite and music”in Zhou Dynasty. They will be shown as follows: exploring the historical constructionand developing process of musical officer system to seek formation of the court musicin the Western Zhou Dynasty; investigating the staff composition and operatingmechanism of musical officer system to reveal the production basis of literaryactivities in Zhou Dynasty; studying the cultural functions of musical officers indetails to reflect the various aspects of the civilization of rite and music in ZhouDynasty; examining the daily duties of some particular musical officers to find thetime dimension of the music education and music administration in Zhou Dynasty;discussing the compilations of Book of Songs and Classic of Music to unfold thecooperative achievement of musical officers and other officers.The main body of this dissertation can be divided into seven chapters.Chapter one mainly discusses the musical officer system and the establishment ofcourt music system in the Western Zhou Dynasty. In the early years of the WesternZhou Dynasty, the country was united and reformed the music system. For one thing,the music system of the former dynasties provided the important resources for makingthe music system; for another, the musical officers in Yin dynasty betrayed and wentto Zhou to seek refuge, which not only brought in the advanced music culture system,but also established a blind-wizard-GuMeng-oriented musical officer system. Afterthe establishment of court music system in the Western Zhou Dynasty, the people ofZhou Dynasty carried out the system of gifting others by music, which made Zhouroyal court and vassal states all accessed to the standard of ruling by the civilizationof rite and music, but left behind some destabilizing factors which led into the futureritual collapse. Besides, this chapter also investigates Shao music which is regarded asthe canon of court music by Confucius, and studies its inheritance situation in thethree former dynasties to restore how the primitive musical dance were integrated intothe music system in Zhou Dynasty. Chapter two mainly studies the musical officer system of Rites of Zhou fromthree aspects: functional attributes, staff composition and administrative mechanism.In terms of the functional attributes, every musical officer has ritual attributes,teaching attributes, and professional attributes; In terms of the staff composition, themusical officers in Rites of Zhou are composed two classes: musical officer class andmusical executor class, and the two have much difference in roles, responsibilities,and courteous reception; In terms of the administrative mechanism, the managementof musical officers not only follows the method of supervising officers in Rites ofZhou, but also possesses its own particularity.Chapter three mainly discusses educational function of musical master system fornoble in Zhou Dynasty. This chapter studies music education system from threeperspectives: teaching of musical language, teaching of musical rite, and teaching ofmusical dance. With the teaching of musical language, the noblemen’s abilities ofcomposing, versifying and interpreting verses are fostered, so the noblemen’sadministrative, diplomatic and other means of discourse are all strengthened; With theteaching of musical rite, the noblemen’s impressive and dignified manners are built up,so they possess honorable spirits inside and outside and become the modal of thenationals; With the teaching of musical dance, the noblemen of Zhou acquire reservedmusical dance of the former six dynasties, and have the access to various ritualceremonies and to running the country.Chapter four mainly studies the professional cultural function of theblind-wizard-GuMeng-oriented musical officer system. Firstly, GuMeng possesses thefunction of collecting folk songs. The musical officer GuMeng, who has possessed theexcellent hearing and a good knowledge of everything since ancient times, is honoredas Saint, and then gradually become the musical worker with reduction of theirfunction of collecting folk songs; Secondly, GuMeng possesses the function of writinghistory. Cooperating with the historical officers, GuMeng plays an important role inemperor lineage and epic creation; Thirdly, GuMeng possesses the function ofpresenting music. As the professional musical worker, GuMeng additionally isresponsible for providing tune for the verse. Fu, Bi and Xing in “Six Skills of Poems”are not only the narrative form of poem, but also become three significant measuresfor Tai master’s providing tune for the verse.Chapter five mainly examines the daily duties of the musical officers from theperspective of time. As for music education, on the one hand the musical officers setthe different teaching contents for the noblemen with the changing of seasons, on the other hand the musical officers arrange teaching plan in terms of age or specificphysical quality; As for the music administration,“Yue Ling” in The Book of Ritesrecords the one-year schedule of musical officers, in which the preparing music andadopting music of ceremony process are recorded. Besides, the pre-Zhou officialposition Yue Officer was reserved in Zhou Dynasty. They are responsible for theadopting music of some festival activities, such as for changing seasons, praying for agood harvest, offering sacrifices and so on.Chapter six mainly studies the musical cultural functions of various officersexcept the musical officers, in which the focus is put on the discussion of diplomaticofficer system and national history system. The diplomatic officer system is not onlythe prime operator of collecting The Book of Songs, but also the executor of versifyingdiplomatic situation, and this system has the most significant impact on thecanonization turn from secularization. The national history system serves as thetrimmer and recorder of text The Book of Songs. The emergence of new finishingTsinghua Bamboo Slips “lyre music of Zhou Gong” provides the case in point fordescendants’ understanding textual forms of The Book of Songs before forminganthology.Chapter seven mainly studies the finishing of Classic of Music and its nature. Theformation of Classic of Music draws a conclusion for the court music system in Shangand Zhou Dynasties. And its musical pattern matches The Book of Songs. However,with the decline of Zhou royal court in East Zhou Dynasty, the playing of court musicgradually reduced. Till the end of Spring and Autumn Period, the playing of courtmusic was rarely seen. Confucius and his students all valued realistic significance andneglected playing techniques, and their idea urged the formation of Confucian musicaltheory, such as The Book of Music, and finally become the main pattern of discussingmusic for the descendents. After the loss of Classic of Music,“the music master” inRites of Zhou and “The Book of Music” in The Book of Rites become the onlyresources of Yue Wei. According to the reserved materials, the interpretation of YueWei to the above two works mainly focus on the pentatonic scale theory, eight soundstheory and ancient music theory, so some contents of the ancient Classic of Music canbe restored.更多还原