白居易乐教思想述论

On Bai Juyi’s Pedagogy of Music Teaching

两汉灭亡后,上古乐教传统逐渐式微。虽然魏晋南北朝有过一批重建乐教的尝试,但均以失败告终。儒家乐教曾长期不被统治者关注,直到唐朝中叶才有所改观。白居易便是当时着力论证礼乐价值,并建议君主将其重建的代表。他的乐教思想有三大来源:一是传统儒家“以乐为教”的一贯主张;二是魏晋“音乐自觉化”时代形成的音乐主体论;三是陶渊明“琴乐自娱”的音乐内在化思想。由此导致其乐教思想具备三大内涵:一是继承发展传统儒家“以乐为教”的社会化教育观念,提倡“正始之音”而打击郑声;二是在反思唐初“音乐亡国”理论后形成的政治化音乐思想,强调“太平由实非由声”;三是在被贬江州后逐渐生发出“以乐抒情”的个人化艺术追寻,意在利用音乐实现个人精神自由。白氏开启了社会化及个体化两大乐教思想脉络的融合,其主张具备深刻的历史意义。

Since the collapse of the Han Dynasty,the ancient tradition of music teaching has gradually declined.Although in Wei,Jin as well as Southern and Northern Dynasties,there were a number of attempts to rebuild the music teaching,but all ended in failure.Music teaching was not concerned by the rulers for a long time until the middle of the Tang Dynasty.Bai Juyi was the representative who demonstrated the value of rites and music at that time and suggested that the monarch restore them.There are three main sources of his pedagogy of music teaching:the traditional Confucian view of“taking music as teaching”,the music subject theory formed in the era of“music self-consciousness”in Wei and Jin dynasties and Tao Yuanming’s thought of music internalization of“self-entertainment of piano music”.Therefore,his music pedagogy has three connotations.First,it retains and inherits the traditional Confucian concept of“music as teaching”,advocates“Zhengshi voice”and strikes Zheng Sheng.The second is the political music thought formed after reflecting on the theory of“music subjuking the country”in the early Tang Dynasty,emphasizing that“peace is based on reality rather than sound”.Third,after being demoted to Jiangzhou,he gradually gave birth to the personalized artistic pursuit of“lyricism with music”,intending to use music to achieve personal spiritual freedom.He started the integration of the two ancient music pedagogy of socialization and individuation,and his music teaching thoughts are worth elaborating today.