論中國樂教「和」之思想—以周敦頤樂教為視野

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題名:	論中國樂教「和」之思想—以周敦頤樂教為視野
作者:	黃莛瑜;Huang, Ting-Yu
貢獻者:	哲學研究所
關鍵詞:	樂教;儒家;道家;墨法;黃老思想;鄭聲;周敦頤;和;the Music Education;Confucianism;Taoism;Mohism and Early Chinese Legalism;Huang Lao political theory;the music of Zheng;Zhou Dunyi;he
日期:	2021-07-26
上傳時間:	2021-12-07 12:06:54 (UTC+8)
出版者:	國立中央大學
摘要:	在先秦春秋戰國，時逢禮壞樂崩的亂世，思想家們為了社會祥和安寧無不絞盡腦汁。在局勢不穩定的狀況中，諸子百家爭鳴，從各個角度視域切入，共同展現了多元的樣貌。然而「天下一致而百慮，卻殊途同歸」，中華文化的思想、學識廣博高深，在其辯證思考及生命的實踐中，我們看到了文化底蘊的流轉與知識智慧的起舞，而筆者在研究中國樂教的哲學中，體察到了儒、道、墨、法、黃老思想等等不同層面的遠見卓識，也深刻地理解到樂教是中國政治與教育的一門重要學問與功課，《禮記》有言：「建國君民，教學為先」，賢者志士成為人們可以依循的對象，無不從書本與行動中獲得智慧與力量。「儒家」認為樂教是以正當的音樂鋪陳一聖王的「雅樂」，使人民在溫和中潛移默化的營造良善的風俗習慣；「墨家」則批判在亂世中，樂教的建構耗費百姓成本過重，並造就可能的浮華風氣，因此樂教乃於「簡樸」；「法家」則認為所謂的樂教應該以增強「國家戰力」的前提為出發；「道家」則強調音樂在人為造作中的限制與依賴條件，強調「大音希聲」的意義，同時提出對於音樂的審美價值與道德價值之差異；而「黃老思想」則考量上述各家關心的層面，從中肯定了音樂的教化作用，並警覺音樂可能帶來的浮華風氣，終歸於樂教根本在於「和」。在這樣的豐富脈絡中，中國樂教哲學對於「鄭聲」的理解也展現其可能對當代音樂教育的啟發以及作為流行音樂之詮釋，而音樂與人的身心和諧發展在周敦頤的樂教思想有其實踐的可能。;In the Spring and Autumn (770-476 BC) and Warring States (475-221) periods causing much unrest, scholars, thinkers, staff and students in all academic institutions are pragmatically change hostility to harmony, make peace, and soothe conflicts in society, provide the necessary stimuli for a diversity in both teaching and research activities in the institutions. Moreover, Chinese culture had been accepted, not only the public’s uneasiness have been removed, but also our common aim would have been achieved. Owing to the political chaos at that time, various states hoped to come up with good measures that could bring wealth and beef up military strength in preparation for their fight for territory in ancient central China, and their quest for talent had prompted intellectuals to publish a great diversity of philosophical theories. We can see the in-depth cultural significance yield knowledge, wisdom, and power; with each of these comes responsibility, and realize the Confucianism, Taoism, Mohism, Legalism, the School of the Military, and the so-called classical Taoist political concept of governing by interference can bring us to an unlimited stage of development that the center of politics and education for Chinese culture is an important subject of knowledge. The Book of Rites said: ”Giving Priority to Education in Building Up A Country and Governing Its People.” which deserve our contemplation. The Confucianism considered that the Music Education is the ritual music culture is the elegant, the court music to reach a consensus on some livelihood issues and on issues about preserving our fine culture. Instead of consuming this way, The Mohism’s “Economy of the Expenditures” think that we should consider how we can lead a simpler life. The Legalism think that the Music Education is dovetail with the national strategic planning and financial needs. The Taoism emphasizes the Music Education is done with pretention of virtuosity, “D? y?n x? sh?ng (Loud is its sound, but never was it said).” And the so-called classical Taoist integrated above-mentioned theories, acknowledging the Music Education of Chinese culture is “he(和)”. In the last chapter we can also obvious that the music of Zheng’s interpretation is not applicable to the modern society, must reintroduced to a new generation of music.
顯示於類別:	[哲學研究所] 博碩士論文

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