“古乐”之论即为儒家继承上古雅乐,使乐具有“先王之治”、“教化之功”之理论,“乐”的标准在于合乎上古律吕。“古乐”之论是我国古代中央政权为标榜自身的“正统”地位而采用的官方乐论,历代王朝往往根据这一理论来组织“礼乐”教化。“古乐”之论作为明代官方意识形态的一部分,贯穿明朝始终。但是,明代保守文人长期排斥属于“俗乐”、“今乐”范畴的曲体文学以及戏曲活动,使曲处于一个被压制的状态。然在“古乐”之论崇正、复古取向的影响下,明代曲论向“古乐”之论趋近,明人将曲与“古乐”的关系定位为传承关系,以《诗经》为曲体文学的源流,提高了曲在文学上的地位,从而弱化了“古乐”之论对曲学的钳制作用。 The theory of “ancient music” is the Confucian inheritance of the ancient music, so that the music has “the rule of the kings”, “the theory of” the power of “enlightenment” and “music”. The theory of “ancient music” is the official music theory used by the ancient central government in our country to flaunt its own “orthodoxy” status. Ancient dynasties tend to organize “ritual music” according to this theory. “Ancient Music ” theory as part of the official ideology of the Ming Dynasty, throughout the Ming Dynasty. However, the conservative literati of the Ming dynasty excluded the music of the genre and the opera activities belonging to the categories of “folk music” and “present music” for a long time, so that the music was in a suppressed state. However, under the influence of “ancient music”, the theory of music in the Ming Dynasty approached the theory of “ancient music”, the Ming people defined the relationship between song and “ancient music” as the inheritance relationship “The Book of Songs” as the origin of the body music, improve the status of music in literature, thus weakening the “ancient music ” theory of music on the curbing role.