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以清代及民国时期河南省159种方志作为研究对象,明确“礼乐文化”对方志收录戏曲资料的深刻影响。其收录规律不只体现出儒家“崇礼以作乐”的思想,一些被当作反面教材而收录的戏曲资料还体现出“以礼节制乐”的原则。民国“礼崩乐坏”更促使戏曲改良运动的出现,改良资料便因此保存在方志“社会教育”门类。这样的收录情况反映出戏曲作为俗乐,起初被纳入礼乐体制加以教化功能并受其约束的封建命运,以及民国改良后提升社会地位,成为表演艺术的发展历程。
Taking the 159 kinds of chorography in Henan Province during the Qing Dynasty and the Republic of China as the object of study, this paper clarified the profound influence of “ritual and music culture” on the materials collected by chorography. The inclusion of the law not only reflects Confucianism, “Chongli for music,” some of the materials were used as a negative teaching materials also reflect the “ritual music” principle. The Republic of China “Ending collapse music ” also prompted the emergence of the drama reform movement, so to improve the information stored in the local school “social education ” category. Such inclusion reflects that the opera as a folk music, initially incorporated into the etiquette of the ritual system to be enlightened and feudal destiny, and the Republic of China to improve social status after improvement, as the development of performing arts.