欧阳修的音乐思想研究

发布时间：2018-05-18 22:15

本文选题：欧阳修 + 音乐事件　；参考：《华中师范大学》2017年硕士论文

【摘要】：欧阳修(1007-1072) 一生经历了真宗、仁宗、英宗、神宗四个时期。二十三岁的欧阳修于天圣八年(1030年)步入仕途;熙宁四年(1071年),六十四岁告老别朝。四十二年间他的身影穿梭于北宋都城与地方、朝堂与市集,与其好友一起看尽都城汴京与地方的风景,了解各处文化风俗,记录下不少与音乐有关的诗歌与文字。北宋时期,音乐不仅存在于朝堂之上、庙宇之间用以展现皇家威仪,也出现在都市和地方郊外,展现宋代平民百姓的音乐生活和地方音乐风俗;同时在一些士大夫的家中也不时有宴饮舞乐。音乐在北宋成为人们日常生活的一部分。生活在北宋的音乐环境之中,欧阳修作为北宋士大夫,参与过朝堂、祭祀礼乐活动,观看过地方风俗音乐。作为文人,欧阳修欣赏过乐人表演,本人也弹奏过古琴。与此同时,在欧阳修生活的北宋还有很多他没有看到过的音乐,这些音乐不会因为欧阳修的不参与而不存在。相反,这些音乐构成了欧阳修生活时期音乐的一部分。也就是说,客观存在于北宋的音乐与欧阳修的音乐生活有着十分紧密的联系。在这样的音乐环境中,欧阳修有自己的音乐思想。本文以欧阳修为研究对象,梳理、对比欧阳修及其好友关于北宋音乐的资料,总结欧阳修的音乐思想。本文由绪论、三章正文和结语构成。绪论部分说明本文的选题目的和意义、综述与本文相关的研究成果以及本文的研究材料和方法。第一章主要梳理《欧阳修全集》、《全宋诗》、《全宋词》、《全宋笔记》、《宋元笔记小说大观》、《宋史》,以清明上河图为参照。旨在构建欧阳修时期音乐社会的背景,分析欧阳修作为文人和士大夫两种身份下对北宋音乐的态度。第二章首先将音乐存在的范围缩小为欧阳修见到过的音乐;然后,梳理同一时期其它士大夫对这些音乐的看法,并与欧阳修进行对比。旨在构建欧阳修的音乐社会,说明在以儒道音乐思想为背景的主导下,欧阳修虽受到儒、道音乐思想的影响,但仍然与其他士大夫的音乐思想有所不同。第三章将进一步拉近了欧阳修与音乐的联系,以景yP乐议、夷陵地方风俗音乐和欧阳修直接参与议论并表达观点的音乐场景为背景,点明欧阳修的音乐思想。结语部分从三个角度总结欧阳修的音乐思想。北宋时期宫廷礼乐与外来音乐文化交融后,宫廷礼乐仍需占主流地位的思想;北宋宫廷礼乐与地方民俗音乐文化是否能同时兼容的思想;音乐乐人在音乐传承过程中起到重要作用的思想。
[Abstract]:Ouyang Xiu (1007-1072) experienced four periods: true Zong, Renzong, Yingzong and Shenzong. Ouyang Xiu, 23, went on his career in eight years of Tiansheng (1030); Xining four years (1071), 64 years old. During 42 years, his figure shuttled through the capital and place of the Northern Song Dynasty, the Chaotang and the market, together with his friends, he saw the scenery of the capital city Bianjing and the place, understood various cultural customs, and recorded many poems and characters related to music. In the Northern Song Dynasty, music not only existed on the court, but also appeared in the city and the suburbs between the temples to show the music life and local music custom of the ordinary people in Song Dynasty. At the same time, in the home of some literati officials, also from time to time have banquets dance music. Music became a part of people's daily life in the Northern Song Dynasty. Living in the music environment of the Northern Song Dynasty, Ouyang Xiu, as a scholar in the Northern Song Dynasty, participated in the Chaotang, offered sacrifices to music, and watched the local customs and music. As a literati, Ouyang Xiu has seen musicians perform and I have played guqin. At the same time, in the Northern Song Dynasty where Ouyang Xiu lived, there was a lot of music he hadn't seen, and it didn't exist because Ouyang Xiu wasn't involved. Instead, they formed part of the music of Ouyang Xiu's life. That is to say, the music existing in the Northern Song Dynasty is closely related to the music life of Ouyang Xiu. In such a musical environment, Ouyang Xiu has his own musical ideas. This article takes Ouyang Xiu as the research object, combs, compares Ouyang Xiu and its good friend about the Northern Song Dynasty music data, summarizes Ouyang Xiu's music thought. This article is composed of introduction, three chapters text and conclusion. The introduction part explains the purpose and significance of this paper, summarizes the research results related to this paper and the research materials and methods. The first chapter mainly combs "Ouyang Xiu complete works", "all Song Poems", "all Song ci", "all Song Notes", "Song Yuan Notebook novels", "Song History", taking Ching Ming Dynasty as reference. The purpose of this paper is to construct the background of music society in Ouyang Xiu period and to analyze Ouyang Xiu's attitude towards music in Northern Song Dynasty as literati and literati. The second chapter firstly narrows the existence of music to the music that Ouyang Xiu has seen, and then combs the views of other literati officials on these music in the same period, and compares them with Ouyang Xiu. The purpose of this paper is to construct the music society of Ouyang Xiu, which shows that under the background of Confucianism and Taoism, Ouyang Xiu is influenced by Confucianism and Taoism, but it is still different from the music thoughts of other literati and bureaucrats. The third chapter draws closer the relationship between Ouyang Xiu and music and points out Ouyang Xiu's musical thoughts against the background of Jingyp music discussion, Yiling local custom music and music scene in which Ouyang Xiu directly participates in discussing and expressing views. The conclusion part summarizes Ouyang Xiu's music thought from three angles. After the mergence of court ritual music and foreign music culture in the Northern Song Dynasty, the palace ritual music still needs to occupy the mainstream position, and whether the court ritual music and the local folk music culture can be compatible at the same time in the Northern Song Dynasty; The idea that musical musicians play an important role in the process of music transmission.
【学位授予单位】：华中师范大学
【学位级别】：硕士
【学位授予年份】：2017
【分类号】：J609.2

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