“乐者，乐也”——从《乐记》与“孔颜之乐”看儒家音乐的发展逻辑

《乐记》是在儒家天人感应观念形成的理论过程中成书的，因此儒家对音乐的认识亦在动荡的思维革命中不断变化。礼与乐亦是在新的政治共同体中获得了合法的地位，因而便必须有特定的功能；音乐的功能在于感发人的善心，达到人与自身、社会、天地的和谐，所以它只是手段。在道德的最高境界里，乐音是要被扬弃的，圣人体会到的是“无声之乐”，这是儒家音乐衰落的重要原因。

The Logic of the Development of Confucian Music： Based on The Book of Music and the Happiness of Confucius and Yanhui

The Book of Music was produced as a result of the continuing thinking revolutions about the interaction between Heaven and Mankind. The ritual standard and music obtained their new lawful positions in the system. At the same time, the music had lost its independence and become one kind of tools for the man to achieve the ideal personality being harmonious with himself, with society and with the whole world. It implies that the music is not a necessary requirement in cultivating a gentleman and as a bridge it will be abandoned when the goal is attained. That might be the reason that the music of the Confucianism declines gradually. Key words：