古《韶乐》嬗变为《齐韶乐舞》之管见──兼述孔子与《齐韶乐舞》

古《韶乐》嬗变为《齐韶乐舞》之管见──兼述孔子与《齐韶乐舞》王川昆一古《韶乐》是中国古代很有名的一部大型乐舞。其流传与艺术形式，是极其悠久和灿烂堂皇的，历来被称作＂美哉韶乐稀世国宝＂，足见其非同一般。据《周礼》记载，此乐舞为上古时期帝王虞舜所作。其实...     

祭孔乐舞与国家意志表达——滇南建水祭孔乐舞与国家制度的关系研究

祭孔仪式雅乐是为祭祀仪式的目的而服务,本文以祭孔乐舞在地方存在方式为线索,在滇建水地区的空间范围内,展现了祭孔乐舞在这一地区的历史风貌。通过对该地区祭孔乐舞的乐章、舞蹈、以及乐舞规制等内容的解读,阐述了国家意志通过乐舞渗透到地方社会的机制,国家通过乐舞操演达到教化民众,强化儒家思想巩固国家统治的目标。     

从明代乐舞生看儒道融合北大核心

中国的乐舞文化源远流长。相传在尧舜时期就已经有了乐舞的雏形。历经千百年的发展,乐舞文化不断发展成熟,并日臻完善,展现了中国音乐和舞蹈艺术的漫长发展过程,也体现了历代王朝文化交汇融合的状态。唐朝是我国乐舞文化发展的鼎盛时期。明代继承了乐舞的形式,将其应用于祭祀雅乐的体系当中,由此形成“乐舞生”这个群体。     

传统国家祭祀雅乐的人文演绎——以台湾地区祭礼雅乐的本土化实践为例

中国传统祭祀雅乐作为华夏正声,一直处于历史的承续与衍变之中。笔者经过长期的历史考察和多次的田野现场发现,中国明清时期的国家祭祀雅乐在台湾地区得到了很好的保存。现代台湾地区祭礼雅乐是以20世纪60年代当地政府核准的祭孔礼仪为蓝本,融合三献古礼、八音雅乐、释奠乐舞等程式标准,逐渐衍变为该区域民间信仰宫庙崇奉"天地国亲师"等传统信仰的当代礼乐文化展演典范。本文将传统国家祭祀雅乐与当代民间信仰仪式展演相互印证,主要从仪式涵养的双重建构、仪式音声的有无转换、仪式乐舞的形神合一这三个维度,来深入阐释与凸显台湾地区祭礼雅乐本土化实践中对祭祀礼仪人文性层面的现代建构。两岸文化同根同源、同文同种,研究当下台湾地区民间信仰组织对中国传统祭祀雅乐的传承与创新,可以为当代中华礼乐文明的复兴与重建提供弥足珍贵的人文启示与借鉴意义。     

古代齐国乐舞《韶》乐初探

乐舞是起源于原始社会的祭祀舞蹈,它是一种集歌、舞、乐三位一体的艺术体裁,是我国古代社会音乐艺术的重要表现形式。而古代齐国乐舞《韶》乐又是其中古人所推崇的以规矩、中和为特点的雅乐舞中的典范,它以其动人的音乐和优美的舞蹈,展示着我国古代乐舞的辉煌成就。本文从《韶》乐的起源、蕴含内容、艺术形式、艺术风格入手,对《韶》乐进行了深入分析与研究,旨在能够更好地了解齐国音乐艺术文化的发展情况,弘扬齐国古都民族传统文化的精髓。     

广辟蹊径觅《韶》音--对《祭孔乐舞》承传齐国《韶》乐的探索

为了继承、弘扬民族优秀传统文化,开掘、利用古代《韶》乐已成为人们关注的焦点。尤其是在《韶》乐的故乡淄博,更是以此倾力打造地域文化品牌。但是,由于事过境迁,乐与时化,实难寻觅古《韶》之容貌,更难找到其遗音。本文通过考证认为,《祭孔乐舞》就是古代《韶》乐的有形载体,《韶》的音乐即随着《祭孔乐舞》的代代承传而保存下来。所以,目前尚存的“祭孔”音乐应是我们探索古《韶》音乐的重要依据。     

从祭孔乐舞看儒家文化思想

孔子、孟子和萄子所创立的儒家文化是我国传统文化之经典，儒家思想所倡导的和谐又是中国文化思想的精髓，祭孔乐舞所体现的精神也正是儒家中和美学思想的价值所在。本文从祭孔乐舞的歌辞、音乐和舞蹈入手，深入分析和挖掘祭孔乐舞所体现的儒家文化思想，对构建和完善社会主义和谐社会具有重要意义。     

关于齐《韶》乐的起源和发展的探索

《韶》乐是一部反映原始社会末期最高水平的乐舞作品,也是见于记载的最古老的乐舞作品之一。它对后世的雅乐影响深远。本文想追根溯源,对《韶》乐的产生以及流传、发展进行一些探索。     

先齐乐舞——《韶乐》拾零

先齐乐舞——《韶乐》拾零毕海燕在山东这一神奇古老的土地上曾孕育了优秀的民族文化。以当今山东淄博为中心的齐国,在先秦的历史舞台上具有举足轻重的地位。齐国乐舞是齐文化的重要组成部分,也是中华民族传统文化的重要部分。先秦时期,音乐是各门艺术中最被重视并获得...     

齐国舞蹈艺术探究

齐国舞蹈艺术是中国古代舞蹈艺术的重要组成部分,在中国古代舞蹈发展史上占有十分重要的地位。无论是具有玄鸟崇拜情结的先齐东夷舞蹈,舞以时化、风移俗变的齐国民间舞蹈,还是礼与变俱、以俗为美的齐国宫庭舞蹈,都充分反映了齐国舞蹈的艺术成就,并呈现出鲜明的地域特色,特别是由丰富内容和独特形式构成的＂尽善尽美＂的齐国《韶》乐舞,不仅是先秦时期舞蹈的巅峰之作,并被历代作为宫廷乐舞的典范,影响中国舞蹈创新与实践长达2000多年,成为具有独特形态和神韵的东方舞蹈艺术中的经典之作,而且对丰富和发展我国及世界舞蹈艺术也有极为重要的作用。     

探寻巫乐舞对道教音乐的影响

中国道教音乐在千百年的历史演变中,由于其宗教自身发展的需要,吸纳了多种音乐素材,最终形成了形式完备、内涵丰富、中华文化底蕴深厚的传统音乐。本文经过大量音乐史料的深入分析研究,在古代历史史料的考证后认为,虽然至今现存的道教音乐内容丰富,构成成分纷繁复杂,但通过梳理甄别发现古代巫乐舞即是道教音乐的起源,也极大的影响着道教音乐的发展。     

齐风和韵——谈《韶》乐及齐国宫廷乐舞的音乐特点

《韶》乐来源于帝的《九招》,经过不断的发展,齐《韶》成为春秋时期齐国音乐文化发展水平的杰出代表,孔子的"尽善尽美"更是对齐《韶》的高度赞誉。齐《韶》作为齐国宫廷乐舞的重要组成部分,其场面宏大、优美典雅、刚毅庄重、欢快愉悦、情深意切、感人至深和音乐跌宕起伏,也成为齐国宫廷乐舞的音乐特点。     

感知音乐音质的EEG探究

欣赏音乐是一种审美的体验活动,不同的音质会使人产生不同的感受。为探究音乐和EEG的关系,本文选用音乐《黑人舞曲》,运用主成分分析等方法,研究了11位在校大学生在欣赏不同音质音乐时的EEG特征。结果发现:在欣赏不同音质音乐时大脑皮层右颞等处快波功率差异显著。大脑对音乐的精细加工与大脑右颞等区的电活动密切相关。     

子夏与《乐》的传授

《乐》是孔子用以教学的主要内容之一,子夏深得其传,不仅善于演奏音乐,而且将古乐所代表的儒家思想传给后世。虽然古乐最终没能流传下来,但是子夏传播乐的贡献却是不能抹煞的。     

Musical Thought in the Zhuangzi: A Criticism of the Confucian Discourse on Ritual and Music

Musical thought in the Chinese tradition is frequently discussed in terms of the Confucian discourse on “ritual and music (lǐyuè 禮樂),” but how this Confucian discourse has been viewed by its critics has seldom been addressed. This paper aims to explore musical thought in the Zhuangzi as a serious critique of Confucian musical discourse. Zhuangzian thinkers doubt whether Confucian ritual music can avoid restricting music within a specific musical tradition, impeding the freedom to enjoy music, and distorting the nature of music. Unlike Confucian discourse, which emphasizes music’s external effects, Zhuangzian musical thought ultimately leads us to focus on the essential questions: how to cultivate one’s own sensibility toward musical harmony, how to open one’s mind to comprehend different musical sources, and how to eventually reach musical Dao.     

Relations among musical skills,phonological processing,and early reading ability in preschool children

We examined the relations among phonological awareness, music perception skills, and early reading skills in a population of 100 4- and 5-year-old children. Music skills were found to correlate significantly with both phonological awareness and reading development. Regression analyses indicated that music perception skills contributed unique variance in predicting reading ability, even when variance due to phonological awareness and other cognitive abilities (math, digit span, and vocabulary) had been accounted for. Thus, music perception appears to tap auditory mechanisms related to reading that only partially overlap with those related to phonological awareness, suggesting that both linguistic and nonlinguistic general auditory mechanisms are involved in reading.     

论《论语》中的“禘”及其政治伦理意蕴

“禘”乃历代礼学考究之难点。《论语》中论“禘”之处仅二,后儒原“禘”主要基于文献考证学层面,征引经传子史弄清禘祭制度的本来意义与形态,然众说纷纭,莫衷一是,尚无定论。而对于殷周禘祭的实态或者说隐藏在禘祭制度中的政治、伦理乃至意识形态的关注甚少,《论语》中的“禘”恰恰又集中于此。再有孔子是否知“禘之说”以及为何“禘自既灌而往者,吾不欲观之矣”亦成悬案。因此,对“禘”及其相关问题予以梳理与澄明,意义颇大。     

先齐乐舞蠡测

世上任何一种文化的形成,一般都有其承继性与融合性特点。作为齐文化重要组成部分的齐国乐舞当然也不例外,它也是在齐文化的形成过程中,承继了东夷乐舞的成就,融合了尧、舜、禹三代之乐而形成的。东夷族是个喜歌好舞的民族,他们的歌舞活动,不仅造就了众多乐歌和乐舞,而且催生出了众多乐器,同时还出现了乐教、乐论和礼乐。为此作出重要贡献的有太3伏羲氏、少3金天氏、葛天氏、颛顼高阳氏、帝喾高辛氏、大舜有虞氏、东莱部落和夷夏部族联盟,就是他们为齐国乐舞打下了坚实的基础。     

A performance analysis of In-Car Music engagement as an indication of driver distraction and risk

Drivers engage in a host of driving-unrelated tasks while on the road. They listen to music, sing-along, and accompany songs by pounding-out drum-kicks and syncopated rhythms on the steering wheel. However, there is controversy over in-cabin music: Does background music facilitate driver performance via increased arousal leading to more focused concentration, or cause distraction placing drivers at greater risk. In an effort to shed light on the debate, the current study evaluated music engagement by employing Music Performance Analyses with audio recordings from three simulated driving conditions. The results indicate that as the perceptual demands of the primary driving task increased, the secondary music activity was hampered, and subsequently sub-optimal vocal and percussive performances were demonstrated consisting of intonation errors, rhythmic inaccuracy, lack of synchrony, inconsistent and unstable temporal flow, neglect of text, and lyric replacement. The findings seem to point out that drivers allocate greater reserves to music than previously considered, and as drivers do not withdraw altogether from music engagement under high-demand driving conditions, driving may be under-resourced. Exploring active music engagement while driving might assist traffic safety researchers in decoding the effects of In-Car Music on driver behavior.     

Music evokes vivid autobiographical memories

Music is strongly intertwined with memories—for example, hearing a song from the past can transport you back in time, triggering the sights, sounds, and feelings of a specific event. This association between music and vivid autobiographical memory is intuitively apparent, but the idea that music is intimately tied with memories, seemingly more so than other potent memory cues (e.g., familiar faces), has not been empirically tested. Here, we compared memories evoked by music to those evoked by famous faces, predicting that music-evoked autobiographical memories (MEAMs) would be more vivid. Participants listened to 30 songs, viewed 30 faces, and reported on memories that were evoked. Memories were transcribed and coded for vividness as in Levine, B., Svoboda, E., Hay, J. F., Winocur, G., & Moscovitch, M. [2002. Aging and autobiographical memory: Dissociating episodic from semantic retrieval. Psychology and Aging, 17, 677–689]. In support of our hypothesis, MEAMs were more vivid than autobiographical memories evoked by faces. MEAMs contained a greater proportion of internal details and a greater number of perceptual details, while face-evoked memories contained a greater number of external details. Additionally, we identified sex differences in memory vividness: for both stimulus categories, women retrieved more vivid memories than men. The results show that music not only effectively evokes autobiographical memories, but that these memories are more vivid than those evoked by famous faces.