戴震礼乐思想的内涵及其学术意义  

The Connotation and Academic Significance of Dai Zhen's Thoughts of LIYUE

作　　者：袁建军[1] YUAN Jianjun

机构地区：[1]江西师范大学音乐学院

出　　处：《星海音乐学院学报》2018年第2期25-33,共9页Journal of Xinghai Conservatory of Music

基　　金：2016年江西省社会科学"十三五"规划项目"清代经学家汪烜礼乐思想研究"(16BJ44);江西省高校人文社会科学研究项目"声音自有流变--婺源经学家江永礼乐思想研究"(YS162039)

摘　　要：作为清代中叶徽州学派的重要代表人物,戴震在礼学领域有精深造诣。他在继承其师江永礼学思想的基础上,知识考证与思想建构并行不悖,从自然人性论的角度对礼乐问题进行探讨,对"礼乐源情"的乐情论有详细阐述。其中,对礼乐与情的关系、理-礼、礼-情、乐-情的论述有独特的音乐思想史意义。文章通过对戴震其人其学、礼乐思想内涵及思想史意义的梳理,亦可揭示戴震及徽派的礼乐思想特点和学术取向。As an important representative of the Huizhou School in the middle Qing dynasty,Dai Zhen had profound attainments in the study of Chinese ancient ritual system.Based upon his teacher Jiang Yong’s achievements in this field,which attached importance on both textual research and ideological constructions,he discussed the issue of LIYUE(ritual and music)in the theoretical perspective of human nature and expended in detail about the“emotional foundation of LIYUE”.Amongst,the discussions of the relationship between LIYUE and emotion,the rational and the ritual,the ritual and the emotional,and the musical and the emotional are unique in the history of musical thoughts.With an analytical summary of Dai Zhen’s writings,the paper reveals the characteristics and academic orientation of Dai and the thought of LIYUE of the Huizhou school.

关 键 词：徽州学派 戴震 礼乐思想 乐情论 

分 类 号：J601[艺术—音乐]