《「万舞」與「庸奏」：殷人祭祀樂舞與《詩》中三頌》提要.docVIP

《「万舞」與「庸奏」：殷人祭祀樂舞與《詩》中三頌》提要 關鍵詞：萬舞 庸奏 詩經 三頌 商周樂祭 本文結合甲骨文金文材料，與傳世經典中之資料，考察商周時期之萬舞樂制的形式，及其與庸奏和《詩經》中三頌之關係。從甲骨文例出發，我們看到万舞在商代祭祀中是一種詩樂舞相伴進行的禮樂中的一個重要組成部分，其功用見之於祈年、祈雨、祭祖及學校中。而庸奏在甲骨文及經典中或作奏庸、用庸、乍（作）庸。「庸」既是商代王室與貴族所習用之青銅樂鐘，在商代中晚期甲骨文中又用於指稱某種音樂體式，包括音樂、歌詩與舞蹈相伴進行的用於祭祀的樂舞形式。万舞與庸奏往往相伴進行。由「庸」與「頌」的字源來看，此庸奏樂舞後來演變為《詩經》中的三頌。 The Wan Dance and the Yong Performance: The Sacrificial Music-dance Suite and Its Relations to the Three 「」the Book of Songs Keywords: The dance of Wan The performance of Yong The Book of Songs The Sacrificial Songs of Shang The three Song Sections Chen Zhi, Hong Kong Baptist University The present paper seeks to explore the origin of the Song Section of the Shi jing in light of archaeological investigation and paleographic analysis. It discusses the etymology of a few characters in early inscriptional writing, such as wan万, song 頌 and yong 庸, and argues that the original meaning of song 頌, derived from the name of a Shang instrument yong 庸, depicts a musical suite commonly A reading of the Shang oracle-bone inscriptions demonstrates that the wan dance was often accompanied with performance of the yong instrument, a percussion bell typical of the Shang dynasty. Archaeological evidence suggests that this yong was a privileged instrument of Shang royal and noble families used in a ritual orchestra. Performances using this instrument was frequently described as yongzou 庸奏, zouyong 奏庸, yongyong 庸用and zuoyong 乍(作)庸 in both transmitted and excavated documents. These inscriptional texts also reveal that this performance with yung was not an instrumental melody performed by one player, but a music-dance suite with other instruments, and related to dancers wan 万. The yong dance-music suite have transformed during the dynastic transition or neighbouring cultural exchange between the Shang and the Zhou. The song 頌 was the term created by the Zhou rulers to designate this yong music alterred to need of Zhou. In emulating yong, the sacrificial music of Shang, the Song genre of