论汉哀帝罢黜乐府

发布时间：2018-05-27 11:38

本文选题：乐府 + 礼乐　；参考：《陕西师范大学》2014年硕士论文

【摘要】：本文主要以汉哀帝罢黜乐府为主线,结合西汉政治、经济、文化的背景,着重分析了汉哀帝罢黜乐府的原因及后续音乐机构的设置,在此基础上,从儒家礼乐思想的角度入手分析了“郑声”的深层含义。并把汉哀帝罢黜乐府作为历史上一次文化政策决定社会文学艺术兴衰的实例,粗略探讨了“乐”与“政”的关系。通过剖析这些问题,希望能让读者对乐府机构及汉代音乐文化有更加精准的了解,对政治的兴衰与文化政策的关系有更深入的思考。全文共分为五章,前两章为第一部分,以乐府扩建前后的职能为主线,探讨了关于乐府机构的几个具体问题,一是秦时乐府概况,文章认为秦代乐府是秦始皇政治大一统的产物,为达到思想上的高度统一,秦始皇不惜采用“焚书坑儒”的极端措施,面对东方六国绚丽多姿的音乐文化,很可能将乐府作为了管理俗乐的专门机构。对中原俗乐的追求使秦时乐府机构就具备了一定规模,掌握了大量的音乐资源,为后世扩编乐府与太乐并立打下了基础。二是乐府乐人的分类及身份构成,通过分析得出结论,乐府机构固定人员的身份地位有两类一是国之贱隶、一是良家子。除了这两类,还有一些诸如司马相如一样的文人、贵族,他们经常参与到乐府的活动中来,但不是乐府的固定人员,国之贱、隶与良家子在乐府内没有地位高低的区分,没有明确的分工。三是乐府的存在对汉代音乐文化的影响及意义。第三、四章为第二部分,主要论述了罢黜乐府的原因及带来的影响。对于原因的探讨,本文不认为《汉书》记载的哀帝“性不好音”是主因,也否定了经济困难,无力维持乐府机构是主因。本文认为作为一代帝王,维护统治是首要目的,尤其是国家处在岌岌可危的境地,所以政治因素占主导地位,而经济、文化原因是让他做出这个决定支撑,尤其是文化因素。第四章是对汉哀帝罢黜乐府影响的探讨。罢黜乐府之后,对政治、经济的影响微乎其微,正如史书中记载的那样,“百姓浸渍已久”,事实也确实如此,影响最大的是后世音乐机构的设置。乐府消失后客观上需要新的音乐机构掌管俗乐,由此引出了东汉有没有音乐机构替代乐府的问题。在第四章中,根据现有的研究,扼要阐述了“黄门乐署”即是乐府替代机构问题的由来,重点分析了黄门制度及黄门乐署的功能,通过对黄门乐署的发展历史和功能的探究,得出黄门乐署延续了乐府的部分职能,但规模,功能差异非常明显。接着又分析了另一种客观存在的音乐形态即“掖庭女乐”,通过对它的分析得出结论,西汉乐府存在的同时,也存在着其它与音乐相关的职能部门,而且与乐府的关系非常密切,它们都以掌管俗乐为主。乐府机构消失后,黄门乐与掖庭女乐的地位有所加强,但都不能与西汉乐府相提并论。第五章为本文的第三部分,是对汉哀帝罢黜乐府的的思考。首先探讨了何谓“郑声”,郑声与卫声在春秋战国时期是新乐的代表,孔子说的“郑声淫”也还不是坏音乐的代表,他带有强烈的感情色彩,更多的是对现实社会僭越成风,道德沦丧的痛恨。到了荀子的时候,面对当时尖锐的社会矛盾,站在统治阶级的立场彻底否定了郑卫之音,此后郑卫之音成了“淫乐”、“坏音乐”的代表。事实上汉哀帝时期的乐府音乐是很正常的音乐,从它的功能及来历讲,当时的乐府音乐就是西汉的雅乐,因为汉武帝时就是将这些音乐用于郊祀、宗庙、宴飨。哀帝没有意识到导致国家贫弱的不是郑声,即使罢黜乐府也不能达到自己的目的。其次,探讨了“乐”与“政”的关系。儒家学者倡导礼乐是服务于政治的,雅乐可以移风易俗,治国安邦,可保子孙长久安宁数百岁。可以说儒家礼乐文化准确把握了文化与政治的关系,而积极进步的艺术必然有利于政治的稳定,政治的稳定最终会促进经济基础的调整。儒家学者对雅乐的倡导对我们现今社会有重要借鉴意义,民族复兴,文化先行,今天社会上各种文化潮流,有哪些是属于这个时代的雅乐,又应该用什么样的手段把它用于“移风易俗”,值得思考。
[Abstract]:On the basis of the political, economic and cultural background of the Western Han Dynasty, this paper mainly analyzes the reasons for the dethrate of the Han Dynasty and the setting of the subsequent music institutions. On this basis, the deep meaning of "Zheng sound" is analyzed from the perspective of Confucian etiquette and music and the dethrate of the YueDi of the Han Dynasty as a historical one. The secondary cultural policy determines the rise and decline of social literature and art, and roughly discusses the relationship between "music" and "politics". Through the analysis of these problems, it is hoped that readers can have a more accurate understanding of the Yuefu institution and the music culture of the Han Dynasty, and think more deeply about the relationship between the rise and fall of politics and the relationship between cultural policies.
The full text is divided into five chapters. The first two chapters are the first part. Taking the functions of the Yuefu extension as the main line, the paper discusses several specific problems about the Yuefu institution, one is the general situation of the Qin Dynasty Yuefu, and the article holds that the Qin Dynasty Yuefu is the product of the political unification of the Qin Shihuang. The extreme measures, facing the magnificent and colorful music culture of the eastern six countries, are likely to use Yuefu as a special institution to manage the folk music. The pursuit of the folk music in the Central Plains has made the Qin Dynasty Yuefu institution a certain scale, mastered a large number of music resources, and laid the foundation for the expansion of Yuefu and Tai le for the later generations. Two is the classification of Yuefu music and the classification of Yue Fu people. Identity composition, through analysis, it is concluded that there are two categories of status status of the fixed personnel of Yuefu institution. One is the good family. In addition to these two categories, there are some scholars like Sima Xiangru and aristocrats. They often participate in the activities of Yuefu, but they are not the fixed personnel of the Yuefu, the base of the country, and the good families in Yuefu. There is no distinction between high and low status. There is no clear division of labor. The three is the influence of Yuefu on the music culture in the Han Dynasty and its significance.
The third, fourth chapter is the second part, mainly discussing the reasons for the removal of Yuefu and its influence. For the reasons, this article does not think that the "bad sound" of the emperor of the emperor of the "Han Book" is the main cause, and also denies the economic difficulties and is unable to maintain the Yuefu institution as the main cause. The state is in a precarious position, so the political factor is dominant, and the economic and cultural reason is that it supports him to make this decision, especially cultural factors.
The fourth chapter is the discussion of the effect of the dethrating the YueDi of the Han Dynasty. After the depose of the Yuefu, the influence on the politics and the economy is very little. As recorded in the history books, "the people have been impregnated for a long time", the fact is indeed true, and the greatest influence is the setting of later music institutions. This leads to the question of whether the Eastern Han Dynasty has an alternative to the music institution in the Eastern Han Dynasty. In the fourth chapter, according to the existing research, the origin of the "yellow gate Music Department" is the origin of the Yuefu alternative agency. It focuses on the analysis of the function of the yellow gate system and the yellow gate music department. Through the exploration of the history and function of the yellow gate Music Department, the yellow men music department is drawn. It continues the function of the Yuefu, but the scale, the function difference is very obvious. Then it analyzes another kind of objective music form, "Ye Ting female music". Through the analysis of it, it is concluded that there exist other music related vocational and energy departments at the same time in the Western Han Dynasty, and they are closely related to Yuefu. After the disappearance of Yuefu organization, the status of Huang men music and the women's music has been strengthened, but they can not be compared with the Western Han Yuefu.
The fifth chapter is the third part of this article, which is a reflection on the dethration of the Yuefu of the Han Dynasty. First, it discusses what is called "Zheng Sheng", Zheng sound and Wei Sheng are representatives of Xinle in the spring and Autumn period and the Warring States period, and Confucius's "Zheng Sheng prostitution" is also not a representative of the bad music. In the face of the sharp social contradictions at that time, Xunzi had completely negated the voice of Zheng Wei when he stood in the position of the ruling class at that time. After that, Zheng Wei Zhi Yin became the representative of "lore music" and "bad music". In fact, the music of the Yuefu period of the Han Dynasty was a very normal music music, from its function and origin, the music of the music at that time. It was the Yale of the Western Han Dynasty, which was used in the Han Wu Emperor, which was used in the suburban sacrifices, the temple, and the feast. The emperor did not realize that the state was not the sound of the poor and the country was not the sound of Zheng. Even if he had deposed the Yuefu, he could not achieve its own purpose. Secondly, it explored the relationship between "music" and "politics". It can be said that the Confucian etiquette and music culture can accurately grasp the relationship between culture and politics, and that the art of positive progress is bound to be conducive to political stability, and the political stability will eventually promote the adjustment of the economic basis. It is worth thinking about the significance, the national rejuvenation, the cultural advance, the various cultural trends in today's society, which are the Yale of this age, and what means should be used to "move the wind and the custom".
【学位授予单位】：陕西师范大学
【学位级别】：硕士
【学位授予年份】：2014
【分类号】：J609.2

【参考文献】