论《论语·子之武城》在儒家音乐思想史中的意义  

On the Significance of Yanghuo’s Seventeenth Chapter in The Analects of Confucius in the History of Confucian Music

作　　者：景圣琪[1] 

机构地区：[1]南通市广播电视大学,江苏南通226006

出　　处：《重庆三峡学院学报》2010年第1期157-160,共4页Journal of Chongqing Three Gorges University

摘　　要：《论语》强调音乐形式和内容的统一,认为音乐的思想性和艺术性是"善"和"美",即合于仁德为善,表现平和中庸为美;道和乐具有本质的联系,存在的前提是"仁";乐的地位从低于道,到趋于平等,乃至最终成为了儒家思想的核心,制乐作乐更成为一个王朝不可或缺的政治使命;关注历史甚于现实的音乐思想到了墨子、荀子时期才有了较大的转变;始于孔子的儒家音乐思想并不是僵化和封闭的,而是基于历史并关注现实,不断调整和完善着的,这也正是后代王朝能把它纳入到统治思想主流的重要原因。The Analects of Confucius emphasizes the unity of music form and content, and believes that music and art are ＂the good＂ which conforms to the Confucius idea of benevolence and virtue and ＂the beautiful＂ of harmony and golden mean. Tao and music have essential connection, and ＂benevolence＂ is their existence prerequisite. And Music was inferior to Tao but later became equal to music, and became the central part of Confucianism. Composing music was an essential political task in a dynasty, which concerned about the political history rather than social reality and this idea didn＇t change a lot until the period of Mo zi and Xun zi. The Confucian music is not rigid and closed; it evolves to be perfect based on the concern about history and reality, so it can be taken into the mainstream of ruling thought.

关 键 词：乐 善 美 儒家音乐思想 

分 类 号：B222.2[哲学宗教—中国哲学]