羽士与儒者:明清两代乐舞生群体构成的变迁  

Taoist Monks and Confucian Scholars: the Evolution of Singing & Dancing Professionals in Ming and Qing Dynasties

作　　者：张咏春[1] 

机构地区：[1]中国海洋大学艺术系,山东青岛266100

出　　处：《贵州大学学报（艺术版）》2018年第1期67-72,共6页Journal of Guizhou University Art Edition

基　　金：国家社科艺术学青年课题"宋以来中国封建王朝中央用乐管理机构研究"(项目编号:13CB101)

摘　　要：明清时期的乐舞生是元代礼乐户的延续。不过,明、清乐舞生之间,在群体构成方面却有不同。从羽士到儒者,明清乐舞生群体构成的变迁,反映了封建国家礼乐观念的微调,以及不同文化理念之间的隔阂。The singing and dancing professionals in Ming and Qing Dynasties are a continuation of the Li-yue-hu System in Yuan Dynasty,and they are different in their group constitutes.The singing and dancing professionals witnessed a change from Taoist monks to Confucian scholars in the group constitute,reflecting the subtle change concerning the concept of rite and music in feudal systems and the alienation caused by different cultural concepts.

关 键 词：乐舞 礼乐 乐舞生 

分 类 号：J60-052[艺术—音乐]