基於《周易》體系的中國古代音樂思想研究

Abstract

《周易》作為中國古代集「思想理論」與「應用實踐」於一體的傳世經典，就其本身而言，已含括了哲學思想、處世原則等理論性的內容，以及卦爻圖像、卜筮預測等實踐性的樣例說明；後世各家各派的易學研究者更在此基礎上，發展並研究得到如術數、易圖等理論系統，甚至結合數學、美學、天文曆法等多元學科的知識體系對《周易》所能延伸出的觀點、思想、理論進行新的學術領域的建構。故本研究亦在於通過《周易》與「音樂」這門學科的結合，建立起一個新的、初步的易學研究領域。 本研究首先進行與《易》相關的或旁通的「中國古代音樂思想」的說明。通過對先秦時期音樂「術語」（如「聲」、「音」、「律」、「樂」）的名實定義、以及經典文獻中所描述的「樂」之來源的整理，進行中國古代「音樂思想」基礎性的研究；亦討論漢代十二律呂對樂律學中宇宙論的建構。其次將視野聚焦於《周易》文本，考查《周易》〈經〉〈傳〉中紀錄的「聲」、「音」、「樂」與其他聲音現象，以及《周易》原典與漢代孟喜易學中與中國古代音樂思想旁通的觀念。在此二種前置討論的背景下，進一步建立《周易》學與中國古代音樂思想的跨領域思想研究：分別從形而上的「音樂本體論」、倫理視域的「音樂功能論」與隱喻理論的「音樂符號學」三個面向，圍繞《周易》與中國古代音樂思想的共通性，重構以往易學與中國音樂哲學研究中已有，但並未整合與系統化的新的研究領域。最後，指出本研究對易學、中國古代音樂思想與音樂哲學的價值與貢獻。

The Book of Changes (Zhou Yi) stands as a canonical work of ancient China that integrates “theoretical thought” with “practical application”. In itself, it encompasses theoretical content such as philosophical ideas and principles for living, alongside its concrete components, such as the images of hexagrams and lines, and divinatory practices. Subsequent scholars from various schools of Yi-ology have further developed and researched theoretical systems such as numerology and Yijing diagrams, even constructing new academic fields by integrating knowledge from diverse disciplines like mathematics, aesthetics, and calendrical astronomy to explore the perspectives, thoughts, and theories extendable from the Book of Changes. Therefore, this study similarly aims to establish a new, preliminary field of Yi-ology through its integration with the discipline of “music”. This research first elucidates “ancient Chinese musical thought” that is related or correlative to the Book of Changes. It conducts foundational research by examining the definitions and conceptual distinctions of musical “terminology” (e.g., sheng, yin, lü, yue) in the pre-Qin period and by synthesizing accounts of the origins of “yue” described in classical texts. It also discusses the cosmological framework constructed around the twelve-tone pitch system in the Han dynasty. Subsequently, the focus shifts to the text of the Book of Changes itself, investigating records of “sheng”, “yin”, “yue”, and other sonic phenomena in its core text and commentaries, as well as concepts in the original classic and Meng Xi’s Yi-ology that correlate with ancient Chinese musical thought. Against this backdrop, this study establishes an interdisciplinary inquiry between Yi-ology and ancient Chinese musical thought, which allows for the reconstruction of a previously identified yet unsystematized research domain at their intersection. This is achieved by examining their common ground through three perspectives: a metaphysical “musical ontology”, a “theory of musical function” from an ethical viewpoint, and a “musical semiotics” based on metaphor theory. Finally, the study outlines its value and contribution to Yi-ology, ancient Chinese musical thought, and the philosophy of music.