A Study On Yue Theory Of Song Dynasty

In this paper, the theory of yue (乐论) during Song Dynasty is chosen as the dissertation's main focus of attention. This paper is arranged into two parts:"ontology" and "Relationship". "Ontology" focuses on the inheritance and innovation of theory between writer and Neo-Confucianism scholars; the reasons and formation about "Discussed by the form of yue"; the process of canonization under the influence of thought of formal and innovation. "Relationship" discusses the relationship between formal yue theory that has formed a system and poetics theory, article theory, literary creation. In addition, being an open structure, there is still a lot of research space between yue theory and Ci(词)theory, drama theory, and the creation of Ci and drama.The dissertation consists of the following six parts besides introduction and epilogue. Introduction mainly investigates the existing form and define concepts about the "yue" and "yue theory". In addition it aims to give an introduction of the research status and research significance. The author think meaning of "yue" include in "liyue"(礼乐)and "music", and meaning of "yue" that include in "liyue" tend to elegant, the latter is close to conventional. Accordingly, "yue Theory" of Song tends to pay more attention to the form than "yili" (content), and has five forms:single article, Poetics (or Ci theory, drama theory), reference books, history books, monographs.The first chapter deals with the acceptance and innovation of Song yue Theory based on the previous. First is a research about wenyuanyinghua(《文苑英华》), a reference book in early Song, which points out that the yue theory of Tang is selectively absorbed, the direct objective of Song is pre-Qin yue theory. Secondly, on this basis, there are two kind of acceptance of pre-Qin:"acceptance of principle" and "acceptance of philosophical", the former belonging to scholars(e.g. Ouyang Xiu, Su Shi) theory, the latter belonging to Neo-Confucian(e.g. Zhou DunYi, Cheng Yi, Cheng Hao, Zhu Xi)theory. The relationship between "yue" and "harmony" is logically divided into three levels by scholars' yue theory, "harmony heart", "harmony Heaven & Earth", "harmony people". Neo-Confucian's yue theory not only enriches the Neo-Confucianism, but also makes many concepts of yue theory become more systematic. "Danhe"(淡和)is regarded as characteristic of "yue", "kongyanlechu"(孔颜乐处)then "chengyuyue"(成于乐)as stage of yue, "jing"(静)as inner meaning, "fanjing"(返静)as function of yue.The second chapter focuses on ontological transcendence of "form to meaning". This discussion deals with two respects:(1) pointing out the practice of elegant music attach importance to skill and form factor, which include pitch, range, ceremony, and so on, according to some history books including History of Song(《宋史》),Xuzizhitongjianchangbian(《续资治通鉴长编》), Songhuiyaojigao(《宋会要辑稿》);(2) matching with the first point, the most outstanding in yue theory of Song is that discourse the yue by the form, including three facts:discussing yue by sound, writing according to music, elucidating meaning by melody. All those transcend the traditional Confucian yue theory.The third Chapter centers on the process how Song yue theory became classical text. If the acceptance of the pre-Qin yue theory is basis, ontological transcendence of "form to meaning" is driving force, then some important yue theory books complete the canonizing process in the history of Chinese ancient yue theory. Mainly included are three respects which the author summed up as follows:firstly, yueshu(《乐书》)written by Chenyang is not only the final summary of Confucian yue theory, but also the necessary starting point in the canonizing process. It belongs to scholar's yue theory, summarizing more than innovating; Secondly, it is different from the Chenyang's dogmatic view, Zheng Qiao and Zhu Xi change the Orthodox yue theory in the perspective of both form and content respectively, So they making the relationship near and near between Traditional yue theory and music reality; Finally, through investigating the thought and classification about yue in yuhai(《玉海》),wenxiantongkao(《文献通考》),the dissertation points out that they integrate theory of the previous and Song Dynasty, and complete the canonizing process by mature theory mode about yue. So author considers Song Dynasty as the second axial age in the history of ancient yue theory.Folk music and its theory are the main subject of study in fourth chapter. The conclusions are as follows:First, according to the modern space theory, wazi(瓦子)as specific living space of ordinary people in Song Dynasty, changed the traditional pattern of urban space. Its cultural significance is greater than the geographical significance, so as to provide a field for folk music; Secondly, there is a contradiction between mainstream and folk in theory, which the contradiction between material and spiritual in Song is the first reason, the disruption and reconstruction of system of yue is the second; Finally, for those reasons, the definition of elegant and folk begins to change, and regard harmony of rhythm as a necessary condition to definite elegant music, sincere feelings in music as a sufficient condition. This phenomenon is both a departure from the traditional definition of elegance, also a reconstruction.The fifth chapter discusses the interaction between yue theory and literature theory in Song. This part discusses and analyze the relationship between yue theory and literary trends from a macro perspective, and try to find their underlying mechanisms interrelated. First of all, according to reality of geshi(歌诗),there is still a close relationship between music and literature in Song, which put "poetry" and "music" together through two ways: yinkuo(隐括), dianhua(点化); Second, interaction of the practical level must be reflected in the theoretical level, as follows:on the one hand, it has been become an important part of shihua(诗话)to music, instruments, poem describing music; the other hand, scholars integrate yue theory and literature theory by two ways in Song: "discourse the poem by yue", "discourse the article by yue".The sixth chapter focuses on how formal yue theory influence literary writing, and choses Jiangxi Poetry School(江西诗派), a most influential poetry school, as the study object. Author thinks there is a transformation from meter to temperament in Jiangxi Poetry School (poets such as Huang tingjian, Chen shidao, Chen yuyi, and so on), resulting in more attention to music form in Song yue theory. In the view of Jiangxi Poetry School, conforming to the natural rhythm is the important indicators of creation. In addition, relationship between yue theory and Ci(词)writing and drama wirting may be further studied.The last part is epilogue and problems need to be solved. As complex society situation in Song, a single study perspective of Song yue theory is not enough, so epilogue tried to generalize relationship Song yue theory with Liao(辽)and Jin(金)author summed up it as follows:(1) Liao and Jin have different attitude to Liyue culture belonged to Han region(汉地).(2) It is also different that Song affect Liao and Jin in terms of yue theory. Moreover, the shortage in this dissertation also be listed.