金声玉振——儒家乐论对上古礼乐制度的阐释  

Jin sheng Yuzheng:interpretation of ancient rites system by Confucianism

作　　者：张树国[1] 梁爱东[2] 

机构地区：[1]青岛大学文学院,山东青岛266071 [2]青岛大学理工学院,山东青岛266071

出　　处：《广州大学学报（社会科学版）》2005年第7期5-11,共7页Journal of Guangzhou University:Social Science Edition

基　　金：国家社会科学基金资助项目(03CZW005)

摘　　要：“金声玉振”是上古礼乐文化中最富有艺术性的部分,在儒家乐论体系中占有重要地位。孔子对礼乐表演性有“在场”的鉴赏性评述,指出其蕴涵的义理成分;子夏述孔,论证“古乐”与“今乐”表演上的差异,保存了孔门《诗》学的原始样态;思孟学派以“金声玉振”为道德、人性的音乐譬喻;《礼记.乐记》剖析礼乐之异同,提出“声音之道与政通”。以政治、伦理、道德、人性等“他律”来阐释并约束艺术活动,是儒家乐论的本质特点。Jinsheng Yuzheng is the most artistic part in ancient ritual and music culture and occupies an important position in Confucian music theory. Confucius had comments on the performance of the ritual and music presence and pointed out its reasons. Zi Xia talked about confucius and expounded the difference between ancient music and contemporary music. He retained the original form of Confucian poetics;the School of Simeng regarded Jinsheng Yuzheng as musical moral and suggested that the vocal art was connected with politics. And he concluded that it was the essence of Confucian music theory to explain and restrain artistic activities.

关 键 词：儒家 “金声玉振” 上古 礼乐制度 乐论体系 

分 类 号：B222[哲学宗教—中国哲学] J60[艺术—音乐]