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커뮤니티
연구자들이 자신의 연구와 전문성을 널리 알리고, 새로운 협력의 기회를 만들 수 있는 네트워킹 공간이에요.
초록· 키워드
오류제보하기
Dignity, lengthiness, moral and normative elegance and pureness of the poetry of the Book of Odes『詩經』 which was used in the ancient ritual music, that is, music for Classic Pieces of Poetry, were the best choice at that time in showing authority of the nobility and performing a slow and complicated ceremony. However, they continuously demanded moral education which was accomplished as a basic goal of music in secret. After all, they pursued 'the moral state' of the sound, not 'the music ideal' of the sound and came to regard the ritual music as the moral sublimation. Like this, as the ritual music was restricted in the aspect of the content and art of music itself, it was not always effective to the people even though it spoke highly of 'elegance雅' and looked down upon the 'popularity俗' in all of the periods.
Also, the appearance of the music of Zheng鄭 & Wei衛, which was shunned as obscene music by Confucius changed the situation of ritual music in the stage of Chinese music and became powerful as folk music for the first time, and strengthened the cultural interchange of folk music and developed it as the mainstream of Chinese music development. This 'New Sound新聲' was loved by every class of society and constituted the huge stream of music and gave a great shock to orthodox ritual music at that time as well as accelerated the collapse of the system of the rite and music in the late Chunqiu春秋 period. As in the Qin秦ㆍHan韓 Dynasty the rite which was the aim of life of ritual music did not come to have as much political significance as in the ancient times, the ritual music became rapidly weak.
Thus, it is expected that the study of generation, flourishing, enlargement and decline of the ancient ritual music will be the foundation of examining the basic order of the Four Arts四術 as well as the Chinese rite and music and the best solid basis for Chinese ancient culture study. Furthermore, it is expected that the attempt of the bilateral approach to the relationship between the ritual music and the Book of Odes will work as a milestone which will watch the East Asian music and literature as well as Chinese music and literary tradition. This will be used as a useful resource for the analysis and arrangement of musical system and songs of Korean traditional music.
Also, the appearance of the music of Zheng鄭 & Wei衛, which was shunned as obscene music by Confucius changed the situation of ritual music in the stage of Chinese music and became powerful as folk music for the first time, and strengthened the cultural interchange of folk music and developed it as the mainstream of Chinese music development. This 'New Sound新聲' was loved by every class of society and constituted the huge stream of music and gave a great shock to orthodox ritual music at that time as well as accelerated the collapse of the system of the rite and music in the late Chunqiu春秋 period. As in the Qin秦ㆍHan韓 Dynasty the rite which was the aim of life of ritual music did not come to have as much political significance as in the ancient times, the ritual music became rapidly weak.
Thus, it is expected that the study of generation, flourishing, enlargement and decline of the ancient ritual music will be the foundation of examining the basic order of the Four Arts四術 as well as the Chinese rite and music and the best solid basis for Chinese ancient culture study. Furthermore, it is expected that the attempt of the bilateral approach to the relationship between the ritual music and the Book of Odes will work as a milestone which will watch the East Asian music and literature as well as Chinese music and literary tradition. This will be used as a useful resource for the analysis and arrangement of musical system and songs of Korean traditional music.
목차
Ⅰ. 들어가며
Ⅱ. 詩樂의 분류와 응용
Ⅲ. 雅樂과 新聲의 대립
Ⅳ. 나오며
參考文獻
ABSTRACT
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