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《乐记》关于“感于物”“形于声”“变成方谓之音”“声成文谓之音”的表述,阐明了周乐的声、音、乐的形成机制。按照这一机制,可以辨析出郑声细、郑音滥和郑风淫形成的音乐机理:郑声、郑音出于殷纣北里之曲,其声繁音靡,被周人视为亡国之音;入周后受到两周雅乐的排斥,流为地方音声,后成为不同于朝廷正声的民间俗乐的泛称。
The expression of “Yue Ji” about “feeling in things ” “shape in sound ” “becomes the tone of the square” “” Music formation mechanism. In accordance with this mechanism, you can identify the sound mechanism formed by Zheng Sheng fine, Zheng Yin abuse and Zheng Fengku: Zheng sound, Zheng Yin out of the music in the North Yin, its sound extravagant, was regarded as the perpetrator of the Zhou people Sound; into the week after two weeks of Allegorical exclusion, the flow of local audio, after becoming different from the court’s popular folk music popular name.