宋末元初熊朋来创作的《瑟谱·诗新谱》尽管以“复古”为主旨,力图弘扬周代诗教传统,但从其音乐本体形态看,熊氏不明古瑟调弦之制,不察二十八调闰角之实,以“从其月律”或“因其物性”作为宫调选用标准,其精心创制的《诗新谱》并非上古雅乐正宗,只能视为熊朋来的拟古之作,目的是建构熊氏自己理想的礼乐之境。《诗新谱》的上述特点可视为中国古代雅乐缩影,通过对这一个案的剖析,可使我们在当前复兴中华礼乐文明的大语境下,更加清醒地认知传统雅乐遗产的现代价值。 Although Xiong Penglai’s “New Poetry of Poetry and Poetry” written by Xiong Penglai strove to promote the tradition of poetic teaching in the Zhou Dynasty despite the theme of “Retro ”, from the perspective of its musical form, Not investigate twenty-eight intercropping the real angle to “from the month ” or “because of its physical ” as a standard choice for the palace, its carefully created “new poetry” is not the elegant Allegro, only Be regarded as Xiong Penglai’s ancient works, the purpose is to build Bear’s own ideal courtesy scene. The above-mentioned characteristics of “new poetry in poetry” can be regarded as the epitome of ancient Chinese elegance. By analyzing this case, we can more clearly recognize the traditional elegant and noble heritage under the current revival of the Chinese ritual and civilized civilization The modern value.