荀子《乐论》音乐美学思想研究

发布时间：2018-04-08 17:17

本文选题：荀子　切入点：乐论　出处：《青海师范大学》2017年硕士论文

【摘要】：荀子作为先秦最后一位儒学的集大成者,其著述《乐论》所蕴含的思想博大精深,是中国古代第一篇音乐理论专著。《乐论》在继承孔孟儒家音乐思想的基础上,展现了荀子独特的音乐美学思想,并对后世音乐思想产生了深远的影响。由于《乐论》处于多重因素交织的时代背景之中,与儒家的孔孟论乐、墨子老庄的“非乐”思想关系密切,而且《乐论》本身也涉及到了乐与礼、乐与美善、乐与中和等关系的阐释,再加之学术界对《乐论》的研究尚且不尽充分,目前中国美学对于《乐论》还没有形成一个被普遍认同的美学观念。基于此,本文认为对于《乐论》的音乐美学思想研究仍然有着较为重要的学术价值和现实意义,尤其是在中国古代美学不断被重视和发展的今天,对《乐论》的音乐美学思想的总结和整理是十分必要的。因此,本文尝试从美学的角度对《乐论》的音乐美学思想进行较为系统的整理和探讨,全文共分四部分:第一章:主要介绍荀子音乐美学思想的理论渊源。系统地阐述了荀子音乐美学思想与孔孟、墨子老庄及先秦其他典籍的音乐美学思想的关联,并在此基础之上论述了荀子音乐美学思想的发展。第二章:重点分析《乐论》中音乐美学的审美层次,从乐与乐的感官层次、乐与情的情感层次以及乐与礼的社会层次作为分析视角,逐层递进展现音乐受之于耳,达之于心,再教之以礼的审美层次。第三章:阐述《乐论》音乐思想的功能,主要包括音乐伦理教化功能、王道政治功能和人格修养功能,以此对《乐论》的音乐审美功能形成整体的美学观照。第四章:探讨荀子音乐美学思想对后世的影响。试图通过对董仲舒、周敦颐和王守仁等音乐美学思想中所折射出的荀子音乐美学观的分析,展现荀子的音乐美学思想在后世音乐美学中的发展和传承。
[Abstract]:As the last master of Confucianism in the Pre-Qin Dynasty, Xunzi's works "Music Theory" contains extensive and profound thoughts and is the first monographs of music theory in ancient China. On the basis of inheriting the Confucian music thoughts of Confucius and Mencius, Xunzi is the first monographs of music theory in ancient China.Xunzi's unique music aesthetics thought, and has produced the profound influence to the later generation music thought.Due to the fact that the Theory of Music is intertwined with many factors, it is closely related to Confucius' Confucius and Mencius on music, Mozi's thought of "non-music", and the theory of music itself involves music and rites, music and beauty and goodness.The explanation of the relationship between music and neutralization, coupled with the insufficient research on the Theory of Music in academic circles, has not yet formed a generally accepted aesthetic concept in Chinese aesthetics.Based on this, this paper holds that the study of music aesthetics is still of great academic value and practical significance, especially in the present day when Chinese ancient aesthetics has been paid more attention to and developed.It is necessary to summarize and sort out the music aesthetics of Music Theory.Therefore, this paper tries to make a systematic arrangement and discussion on the music aesthetics thought of "Music Theory" from the angle of aesthetics. The full text is divided into four parts: chapter one: mainly introduces the theoretical origin of Xunzi's music aesthetics thought.This paper systematically expounds the relationship between Xunzi's music aesthetics thought and the music aesthetics thought of Confucius and Mencius, Mozi, Laozhuang and other classics of pre-Qin Dynasty, and on this basis discusses the development of Xunzi's music aesthetics thought.The second chapter focuses on the aesthetic level of music aesthetics in Music Theory, from the sensory level of music and music, the emotional level of music and emotion, and the social level of music and rites as an analytical perspective, the gradual development of music in the ear, reach to the heart.The aesthetic level of teaching it with propriety.The third chapter expounds the function of music thought, including the function of music ethics education, the political function of king's way and the function of personality accomplishment, so as to form an overall aesthetic view of music aesthetic function of Music Theory.Chapter four: discuss the influence of Xunzi's music aesthetics thought on later generations.This paper attempts to show the development and inheritance of Xunzi's musical aesthetics in the later generations through the analysis of Xunzi's musical aesthetic views reflected by Dong Zhongshu, Zhou Dunyi and Wang Shouren.
【学位授予单位】：青海师范大学
【学位级别】：硕士
【学位授予年份】：2017
【分类号】：J601

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