论《乐经元义》中刘濂对古典乐律文献的质疑
发布时间：2018-10-18 14:51
【摘要】：《乐经元义》作者刘濂生活在明代嘉靖、正德年间。而这一时期的学术思想由明初“家孔孟、户程朱”，千人一面的状况开始向“彰显个人意识和批判精神”的方向转变，《乐经元义》正是在这样的学术氛围下产生的。刘濂一门心思探寻“乐经”，硬解“周乐”，他认为周代“乐经”，并非像汉人所说的那样“灰飞烟灭”，只是前贤不但未曾发掘“乐经”，而且给“周乐”蒙上了神秘色彩。所以，他为了澄清圣人制乐的初衷，撰写了《乐经元义》。从该著中我们可以看到刘濂敢于挑战鸿儒，反对附会经典的批判意识，反映了他学术上负责与务实的积极态度。同时也应该看到他在乐律研究方面的局限性，尤其是在评论宋代以来某些乐律争议时，有不少误判或误解。尽管如此，刘濂的《乐经元义》仍然具有一定的研究价值，，它不仅是反映出明代乐律争鸣的史实，而且可以反证宋以来一些乐律学说的价值与真伪。
[Abstract]:Liu Lian lived in Jiajing and Zhengde years in Ming Dynasty. The academic thought of this period began to change from "home Confucius and Mencius, Hu Cheng Zhu" in the early Ming Dynasty to the direction of "showing personal consciousness and critical spirit". It was in this academic atmosphere that Yuejing Yuan Yi came into being. Liu Lian devoted himself to exploring the music sutras and trying hard to understand Zhou Le. He believed that the music sutras of the Zhou Dynasty were not "lost" as the Han people said, but only that the former sages had not only failed to discover the "music sutras", but also had a mysterious color on the "Zhou Le". Therefore, in order to clarify the original intention of the sage to make music, he wrote Yuejing Yuan Yi. From this work, we can see that Liu Lian dares to challenge Hongru and oppose the critical consciousness of the attached classics, which reflects his positive attitude of academic responsibility and pragmatism. At the same time, we should also see his limitations in the study of music law, especially in commenting on the controversy of some music laws since the Song Dynasty, there are a lot of misjudgments or misunderstandings. In spite of this, Liu Lian's Yuejing Yuan Yi still has certain research value, it not only reflects the historical facts of Ming Dynasty music and law contending, but also can countervail the value and authenticity of some music law theories since Song Dynasty.
【学位授予单位】：武汉音乐学院
【学位级别】：硕士
【学位授予年份】：2013
【分类号】：J612
本文编号：2279465
[Abstract]:Liu Lian lived in Jiajing and Zhengde years in Ming Dynasty. The academic thought of this period began to change from "home Confucius and Mencius, Hu Cheng Zhu" in the early Ming Dynasty to the direction of "showing personal consciousness and critical spirit". It was in this academic atmosphere that Yuejing Yuan Yi came into being. Liu Lian devoted himself to exploring the music sutras and trying hard to understand Zhou Le. He believed that the music sutras of the Zhou Dynasty were not "lost" as the Han people said, but only that the former sages had not only failed to discover the "music sutras", but also had a mysterious color on the "Zhou Le". Therefore, in order to clarify the original intention of the sage to make music, he wrote Yuejing Yuan Yi. From this work, we can see that Liu Lian dares to challenge Hongru and oppose the critical consciousness of the attached classics, which reflects his positive attitude of academic responsibility and pragmatism. At the same time, we should also see his limitations in the study of music law, especially in commenting on the controversy of some music laws since the Song Dynasty, there are a lot of misjudgments or misunderstandings. In spite of this, Liu Lian's Yuejing Yuan Yi still has certain research value, it not only reflects the historical facts of Ming Dynasty music and law contending, but also can countervail the value and authenticity of some music law theories since Song Dynasty.
【学位授予单位】：武汉音乐学院
【学位级别】：硕士
【学位授予年份】：2013
【分类号】：J612
【参考文献】
相关期刊论文 前1条
1 唐继凯;“候气法”是京房的发明吗?[J];交响.西安音乐学院学报;2002年01期
本文编号：2279465
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