《管子》音乐批评思想初探  

On the Music Criticism Thought of Guanzi

作　　者：李波[1] LI Bo

机构地区：[1]渭南师范学院人文学院,陕西渭南714099

出　　处：《民族艺林》2020年第4期13-19,共7页Journal of Ethnic Art

基　　金：中国博士后基金资助项目“牛弘音乐文献整理与研究”(项目编号:2016M602848)阶段性成果。

摘　　要：《管子》一书有不少论及音乐的文字,不同程度地反映了管仲及其后学的音乐批评思想。《管子》音乐批评主要从图霸的现实目的出发,更多考量的是从事音乐活动的合理性和有用性,而对音乐本体及相关元素的认识和评价则较少。但其在“礼崩乐坏”背景下对西周礼乐文明的推崇以及对雅俗音乐的崭新认识则体现出一定的时代特点。无论是推崇礼乐还是认可俗乐,抑或是侧重对君主音乐活动的批评,《管子》都遵循了实用的批评原则。毫无疑问,《管子》音乐批评思想是先秦音乐批评思想的重要组成部分,更是我们认识先秦诸子音乐批评思想的重要参考。Guanzi discusses a lot about the text of music,which reflects the music criticism thought of Guan Zhong and his successors from different perspectives.Music criticism thought of Guanzi mainly implies the realistic purpose to dominate the world,more consideration is taken into the rationality and usefulness of music activities,while the understanding and evaluation of music ontology and related elements are paid less.But under the background of"ritual music ceremony disintegration"in the Western Zhou Dynasty,respect for rites and music was characterized by the certain times.Whether it is respect for rituals or recognition to folk music,or focus on monarch music activities criticism,Guanzi has adhered to the practical principles of criticism.There is no doubt that the Guanzi music criticism is an important part of the pre-Qin music criticism,and it is an important reference for people to understand the thought of pre-Qin philosophers.

关 键 词：《管子》 管仲 音乐批评 

分 类 号：J60[艺术—音乐]