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文章以道教音乐仪式功能的塑成、流变及世俗化发展倾向为研究对象。分别论述了道教仪式音乐的原始形态及文化功能;道乐编创与应用的审美诉求;道教音乐与儒家音乐典籍之间的呈递关系;以及道家音乐由出世到入世的历史转变过程。在对道教音乐形成一定的审美感知和文化理解之后,从道教音乐的发源谈起,揭示其与儒家礼制和俗乐之间千丝万缕的联系。以社会政治形态为背景,思考道教音乐转变的实质性原因和呈现出来的形态效果。以此,对于道教仪式音乐从“成仙”到“成礼”的转变过程形成较为深刻的理解。
The article takes Taoism music ritual function shaping, changing and secularization tendency as the research object. The paper discusses the original form and cultural function of Taoist ritual music respectively. The aesthetic appeal of the creation and application of Taoist music; the presentation relationship between Taoist music and Confucian musical classics; and the historical transformation of Taoist music from birth to entry into the WTO. After forming a certain aesthetic perception and cultural understanding of Taoist music, we begin with the origin of Taoist music and reveal its inextricable connection with Confucian rites and secular music. With the social and political forms as the background, we should consider the substantive reasons and the morphological effects of Taoist music. As a result, a deeper understanding of the transformation of Taoist ritual music from “immortality ” to “ceremony ” was formed.