| 摘要: | 本文主題在研究周代的樂教文化。然，其時的「樂」，不等同於如今的音樂(music)概念，「樂」包括詩樂舞器等內容。同時，「樂」文化和「禮」文化是相結合著的，因此說：「禮樂合一論」、「詩禮樂器一體」，統稱：「周文」。周文的價值就落實在禮儀與音樂的斯相為用上，其效用能涵養道德、藩財生物、達至天人合德境界。然而，這樣的境界，不得為淫聲鄙樂、靡靡之音，唯有「中和之聲」方能成就。
中和之聲」是為雅樂正聲，是一種旋律變化不大，以宮商角徵羽五聲為
主音調式的音樂，須由有道有位的聖者依天地萬化之理、搭配禮制精神創製。周初的元勛之所以推廣這樣的音樂，主要係認為這樣的音樂才能符應「天命靡常」下的「周德」要求。深信天下君民透過教育制度以及在禮樂儀典的行進裡，從中能體會出每個行禮環節、每個節奏抑揚、每個詩言樂語、每個舞蹈姿態、每個參禮人……等等所蘊含的豐富意義。如此，才能達到樂德的養成，以及「天人合一」之境的實現可能。
孔孟儒門承繼周文精神，孔子以「仁樂」思想將教育平民化，也將周之
「德」由統治階級的特權推廣到庶民百姓，落實「天德—政德—人德」於現實人間；《荀子》與《禮記．樂記》作者則是先秦儒家樂教理論體系的完善者：將中聲樂論嚴謹化、理性化，更把禮樂詩三位一體的周文儀式客觀化、理論化與道德化，讓周文的去巫精神更顯豁，也圓滿了儒家「哲學突破」的價值意義。
周代禮樂的性質有別於殷商的巫鬼迷信，其人文主義及人道主義的精神，也深具文明性，在宗周之際也頗有「軸樞時期—哲學突破」態勢。雖然周文已是一成熟的文化型態，但依雅斯培所論，則尚未能達到「哲學突破」程度。中國的「哲學突破」要到東周時期諸子百家齊鳴之時才真正到來。然，周文之所以未能達「人不再只是為了活著而生活，人有了意識與反省」此判準，實文獻不足徵耳。能徵者，則宗周貴族已充盡展現禮樂教化下其優雅文明身姿與高度的道德自覺。同時，當代學者多認為諸子百家乃相應周文而生，因而，筆者就此而說：周代禮樂文明不僅僅是中國軸樞時期哲學突破的背景或前緣，也是它的基礎、它的一部分。
本論文研究周代樂教文化思想，從四方面進行：「樂教之所由」，係探討禮樂制度的起源；「樂教之所尚」係探索周樂的特徵；「樂教之所施」為蠡測樂教制度之實施；「樂教之所思(值)」為闡釋先秦兩漢時期，周人及儒門對樂教文化的思考。;ABSTRACT
This paper explores the culture of yue (ritual music) education in the Zhou dynasty. Notably, the term yue at that time did not simply mean“music” as understood today. Instead, it encompassed poetry, music, dance, and ritual instruments. Furthermore, yue was closely intertwined with li (ritual propriety), forming a combined cultural system often referred to as the“unity of rites and
music” (li-yue he yi) or the trinity of“poetry, rites and music”. Collectively, these are known as the “Zhou Wen” (周文), the civilizing code of Zhou. The value of Zhou Wen was realized through the integration of ritual and music, which functioned to cultivate virtue, manage resources, and harmonize the relationship between Heaven and humanity. Such harmony, however, could not be achieved through licentious, vulgar, or decadent sounds; only the “sound of harmony and balance” (zhong he zhi sheng) could fulfill this role.
The concept of the sound of harmony and balance (zhong he zhi sheng) refers to what is known as ya yue (elegant music) or zheng sheng (upright sounds)—a form of music characterized by limited melodic variation and based primarily on the five tones: gong, shang, jue, zhi, and yu. This type of music symbolized moral harmony and social order. It was to be composed only by sages—individuals of both moral virtue and political authority—who understood the laws governing the transformations of Heaven and Earth and created music following the spirit of ritual propriety. The early Zhou rulers promoted such music because they believed it fulfilled the demands of Zhou de (the virtue of Zhou) under the ever-changing Mandate of Heaven (tian ming mi chang). They firmly believed that through the educational system and participation in ritual-music ceremonies, both rulers and the people would be able to grasp the rich meaning embedded in each element—every ritual gesture, every rise and fall of rhythm, each poetic phrase and musical line, every dance posture, and the presence of every participant. Only in this way could musical virtue (yue de) be cultivated and the ideal of unity between Heaven and humanity (tian ren he yi) be realized.
The Confucian tradition of Confucius and Mencius inherited the spirit of Zhou Wen. Confucius, through his idea of benevolence through music (ren yue), made education more accessible to the common people, extending the Zhou concept of virtue (de) from a privilege of the ruling class to the general populace, thereby realizing the linkage of “Heaven’s virtue – political virtue – human virtue” in the human worXunzi and the authors of the Yueji chapter in the Book of Rites were the ones who completed the theoretical system of pre-Qin Confucian music education. They made the theory of central and balanced tones (zhong sheng) more rigorous and systematic, and further objectified, rationalized, and moralized the ritual system of Zhou—built upon the trinity of poetry, rites, and music. In doing so, they clarified the anti-superstitious nature of Zhou Wen, and fulfilled the philosophical significance of Confucianism’s own “breakthrough.” ld.
The ritual and music system of the Zhou dynasty differed in nature from the shamanistic and spirit-centered practices of the Shang dynasty. Its spirit of humanism and humanitarianism also reflected a high level of civilizational development. During the period of the Western Zhou, it already exhibited certain characteristics of the so-called "Axial Age" and the tendency toward a "philosophical breakthrough". Although Zhou Wen had developed into a mature cultural form, according to Jaspers, it had not yet reached the stage of a true “philosophical breakthrough.” China’s philosophical breakthrough would not truly arrive until the Eastern Zhou period, when the Hundred Schools of Thought emerged. The reason Zhou Wen did not meet the standard of
“human beings no longer living merely to survive but beginning to possess consciousness and self-reflection” lies in the lack of sufficient textual evidence. What evidence does exist shows that the nobility of the Western Zhou had already fully embodied the refinement and moral self-awareness cultivated through ritual and music education.
At the same time, many modern scholars believe that the Hundred Schools of Thought emerged in response to Zhou Wen. Therefore, this study contends that the ritual and music civilization of the Zhou dynasty was not only the background of China’s Axial Age but also its foundation and an integral parThis study examines the cultural thought of music education in the Zhou dynasty through four focal areas:
- “The Origins of the Music System” – an investigation into the foundationalt of it.
This study examines the cultural thought of music education in the Zhou dynasty through four focal areas:
- “The Origins of the Music System” – an investigation into the foundational development of ritual-music institutions;
- “The Ideals of Music Education” – an exploration of the core characteristics and values emphasized in Zhou musical culture;
- “The Practice of Music Education” – a preliminary study into how the music education system was implemented in ritual contexts;
- “Reflections on the Value of Music Education” – an analysis of how the Zhou people and Confucian scholars from the pre-Qin to Han periods reflected upon and philosophically engaged with the meaning of yue jiao. |
