《乐记》中的儒家乐教“和”思想

The Concept of “He” in Confucian Musical Cultivation as Presented in Yueji

摘要: 《乐记》是儒家音乐美学思想的代表著作，《乐论》将音乐的产生归结于天地，以至于形上本体，这说明儒家的音乐思想是指向形而上本体的。圣人“法天象地”制礼作乐。从本质上来讲这种“乐”具有各种客观的功能，其中很重要的就是教育功能。这种音乐与统治阶级相结合成为某种规范，人们对于这种规范性的“礼乐”趋之若鹜，反而遮蔽了其真正的指向——形而上的本体。

Abstract: Yueji stands as the seminal work representing Confucian aesthetics of music. Discourse on Music Yuelun traces the origin of music back to Heaven and Earth, ultimately grounding it in metaphysical reality. This demonstrates that Confucian musical thought points towards a metaphysical foundation. The Sages, Fa Tian Xiang Di, established li and yue. Fundamentally, this yue possesses various objective functions, among which its educational function is paramount. However, when this music became integrated with the ruling class and transformed into a form of normative structure, people eagerly conformed to this standardized liyue. This very adherence, ironically, obscured its true orientation—the metaphysical reality.