台南孔廟樂局─以成書院之研究

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题名:	台南孔廟樂局─以成書院之研究
其它题名:	Research of Music Bureau,Tainan Confucius Temple--Yi Cheng Classical Learning Academy
作者:	杜潔明 Tu, Chieh-ming
貢獻者:	美學與藝術管理研究所周純一 Chun-yi Chou
关键词:	十三音;以成書院;孔廟
日期:	2003
上传时间:	2015-06-02 10:28:16 (UTC+8)
摘要:	孔廟，從董仲舒獨尊儒術後，成為讀書人進供與膜拜的文化圖騰，在每一個朝代成為統治者的文化符號。台南孔廟，以其全台首學之尊，看盡統治者在此一文化符號的命定下，對知識分子的籠絡，在科舉年代，他不僅僅是學校，是科考之處，更大的意義，是一種可以使布衣成為卿相的生命轉換。　　　　禮的表現，行之於外為樂，而樂的本質又為禮，這一體兩面的禮樂系統，主宰整個祭孔儀式，是故祭典的禮樂機構－禮樂局，是每一個孔廟所必備的，然在台灣眾多的孔廟中，獨台南孔廟設有禮樂局，而以書院的名稱代之。　　　　隨著科舉的廢除，原本僅容秀才才可以參加的以成書院樂局，漸漸有了地方仕紳、商賈，甚至販夫走卒的參與，書院的神聖性不復存在，其必然產生不同階層的文化排斥，而在樂班中，來自不同樂種系統的樂人，如何相融於樂班中？祭典雅樂如何與民間俗樂並行使用？都是本文欲探討的課題。　　　　台南孔廟在橫移的過程中，樂局的變遷是否受到政治力的干預，其從明鄭時期陳永華(1665)建廟至今，原附屬於孔廟的以成書院樂局，在變遷中生態的改變，日據時期的運作模式，以成書院的院生與『南社』的關係。民國64年以成書院改隸孔廟管理委員會，並在其下設理事會綜理院務，時至今日，以成書院除了擔負祭孔大典的禮部分，已是一個純粹的民間樂社，神聖性與世俗性的轉換，亦是本文探討之處。　　　　在漢文化中，傳統的民間絲竹一直反映著常民的生活，在已被定論的傳統音樂的樂種中，不見”十三音”的記載，而它卻已鮮活地存在以成書院百餘年，亦是移民文化下的產物，以本土的觀點來看，它應可稱為”台灣的古典音樂”，所用的樂器來自不同的時空，古今摻雜而呈現另類的型制美。　　　　筆者以一參與以成書院為樂生十數年，自有其主觀性，仍期盼能從文化的角度來觀察一個在民間樂社在儒教文化的演化過程，提供後學者參考。　　　Confucius Temple has been regarded as a cultural totem of scholars, since Tung, Chung-Shu advocated ＂Confucianism＂ for governing Country, which was taken for a signal of every dynasty’s rulers as well. Tainan Confucius Temple, earliest in learning, viewed all of the intellectuals who were lassoed by rulers due to the doomed cultural signal. During the time of imperial examinations, it served as the place of examinations. In a more significant sense, it was a chance in a common man’s life that could make him official.　　　　Etiquette respectability music from outside, as for the essence of music, it is etiquette, however. The two-sided system dominates the rite of Sacrificing Confucius, because of which, the organization in charge of sacrifice ---- The Etiquette & Music Bureau is indispensable to every Confucius Temple. Among so many Confucius temples, however, there is the Etiquette & Music Bureau only in Tainan Confucius Temple, named “Classical Learning Academy” instead.　　　　After the abolition of imperial examinations, the Music Bureau of Yi Cheng Classical Learning Academy, in which only skillful writers could take part originally, began to take in officials, gentlemen, merchants, even packmen and servants, as a result, it led to ostracism of different cultures consequentially. In a music class, how people of different music style can get along with each other, how elegant music for sacrifice can exist with tacky common music? These are the problems that the paper will discuss.　　　　　Was the Music Bureau intervened politically during the transference of Tainan Confucius Temple? Since the establishment of Tainan Confucius Temple by Chen, Yung-Hua (1665) during the period of Cheng, Cheng-Kung in Ming Dynasty, the Music Bureau of Yi Cheng Classical Learning Academy, was affiliated with Confucius Temple. What’s change of the ecology during the transference? What’s the performance mode of Japan Occupied period? What’s the relationship between students in “Classical Learning Academy” and “South Association”. In 1975, Yi Cheng Classical Learning Academy, changed to be affiliated with the Confucius Temple Governing Board and a council was established responsible for the general affaires of the Yi Cheng Classical Learning Academy. But now, it is a sheer folk music organization except that it sees to the rite of sacrificing Confucius. The paper focuses on the change of holiness into common customs as well.　　　　In the culture of Han people, traditional folk music---stringed and woodwind instruments has been reflecting common people’s life. There is no Thirteen Tone in any kind of existing music, which, however, existed in Yi Cheng Classical Learning Academy vividly for more than 100 years as the offspring of migration culture. In local opinion, it should be able to be called “Classical Music in Taiwan”, whose musical instruments come from different periods of time. Therefore, it takes on peculiar genre beauty because of the blending of the ancients with modern times. 　　　　My viewpoints are a little subjective anyhow for I have been in Yi Cheng Classical Learning Academy for decades. However, I still look forward to observing the evolvement of a folk music organization in Confucianism from the angle of culture and offering some reference for later scholars.
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