| 摘要: | 中國人是愛好音樂的民族，歌、樂、舞三位一體，音樂文學誕生。本文研究探討《文選》六篇音樂賦，以及其他漢魏六朝音樂賦，透過文獻分析，從樂舞文化發展、音樂賦文學成就、音樂賦思想內涵三面向進行探討。第一章為緒論。首先研究動機與目的說明，歸納分析前人研究成果，接著論述音樂賦定義、音樂賦的分類與範圍，本論文研究方法及研究步驟。第二章探討先秦至六朝樂舞發展。從中國音樂的起源談起，從各朝代政治、學術、宗教、文化等層面切入，敘述遠古至先秦、兩漢、六朝樂舞演進脈絡，介紹樂舞種類及特色。第三章探討音樂賦的文學表現。探討賦體起源，漢賦的發展、六朝賦的演變等。論述音樂賦的創作程式及藝術手法。第四章探討音樂賦的思想內涵。論述儒家、道家及魏晉士人嵇康、阮籍的音樂思想，包括論樂的起源與本體、音樂教化功能、音樂審美思想的探討。第五章為結論。總結音樂賦創作藝術與內在思想，發展演變過程，肯定文學成就與價值，並展望漢魏六朝音樂賦未來研究趨勢。 There were songs, there were music, there were dances, and there came literature. For the Chinese, a music-loving people, they created a unique style of literature --- Music-Fu where songs, music, and dances were met. This research undertook a literature review to explore the six selected articles of Music-Fu in “Wenxuan”, and of Han, Wei-Jin and Six Dynasties from three aspects, including the cultural development of music and dance, the modes of expression in the literature, and its connotations of thoughts and beliefs. In the introductory chapter, the motivations and objectives of this study are described and followed by analyzing and summing up the results of previous studies, briefly discussing the definitions of Music-Fu, its classifications and scope, and finally identifying the research methods and procedures applied in the study. The second chapter investigates the development of music and dance for the period of starting from pre-Qin to Six Dynasty. Beginning with the discussion of the origins of the music, the study approaches them with the political, economic, religious, and cultural perspectives to indicate the contexts and evolutions of music and dance from the ancient times to pre-Qin, Two Han, Wei-Jin and Six Dynasties, and to introduce the types and distinguishing features of music and dance. The modes of expression in literature of Music-Fu are examined in the third chapter to explore the origins of Fu Style, the development of Han Fu, the evolutions of Ci-Fu in Wei-Jin and Six Dynasties, explaining the formulas of authoring and the artistic techniques of Music-Fu. Chapter four explores the connotations of thoughts and beliefs of Music-Fu and expounds the musical thoughts of the Confucian school, Taoism, and the scholars of Wei-Jin, including the origins and ontologies of Music Theory, the educational functions of music, the distinction between ceremonial music and secular music, and the ideal aesthetic state of music. The fifth chapter, “Conclusion”, summarizes the arts and inner thoughts of Music-Fu, confirms its literary achievements and values, and looks into the future research trends in the related areas. |
