《诗三百》皆可入乐，且是用于“仪式中的歌唱”。因此，本文主要从仪式歌唱的角度考察《诗经》的歌唱形态，包括歌唱情境、歌唱主体、歌唱的具体方式等，同时，本文还以周代礼乐背景下诗、乐关系的变迁为线索，关注《诗经》颂、雅、风不同诗体的创作与乐用机制，了解“歌唱”影响下《诗经》文本的创作手法与章句修辞。因此，本文所作的“歌唱”研究，不仅仅是关于《诗经》音乐性质、特征的宏观论述，也不仅仅是关于具体歌唱方式的艺术研究，更是立足于文本又回归到文本的考证研究。通过这些综合研究，以期对周代礼乐文明有更深的理解。 第一章概述了前《诗经》时代乐器、乐舞的发展水平，了解早期歌唱的基本主题和特征，探析商代乐政的基本运作情形。正是在这一历史传统上，《诗经》推陈出新，开启了周代礼乐歌唱的新时代。 第二章首先界定了“颂诗”歌唱的仪式属性与内容，讨论了乐工、国子、周王、臣工四类歌者及其在歌唱中的仪式角色，并从他们的不同参与中了解诗乐性质、内容的变化。最后分析了颂诗歌唱“声缓”的特征，举例论证了颂诗的“多声部组歌”，以《大武》乐章为例探析了颂诗的“诗剧”特色。 第三章首先分析了西周中期周夏民族认同增强、礼制变革背景下雅诗歌唱的兴起。西周中期雅诗以祭祖诗与燕饮诗为代表，雅诗祭祖诗以对周家子孙进行历史道德教育为目的，发展出“图赞”的歌唱形式；燕饮诗展现了周代贵族礼乐生活的繁盛，燕饮歌唱中出现重章叠调、套语化的歌咏，形成了比较固定的“乐次”。同时，仪式乐歌繁盛时代还吸收了民间歌唱，以“二南”为代表的“乡乐”进入王朝礼乐，丰富了诗乐歌唱的内容与形式。总体上，雅诗歌唱更趋专业化，主要由专业的乐工以第三方的姿态作“赋物”歌唱，乐工与仪式离开距离，在歌唱时具有高度的自主性，可以根据仪式需要作即兴的发挥。 第四章首先讨论了西周后期王朝政治、礼制衰败后，“仪式乐歌”的创作开始式微，以讽谏诗、征役诗为代表的“变雅”歌唱由此兴起，“诗言志”成为诗歌的首要目的，诗歌创作与歌唱、诗人与歌者开始渐趋分离。讽谏诗的兴起与西周后期政治言说环境有关，正是讽谏言说的不畅，使得诗人借助诗乐的形式表达政治诉求。周代礼乐传统为此提供了合宜的言说环境，具体而言，讽谏诗在“无算乐”中歌唱。征役诗被乐官采集进入王朝雅乐，征役诗歌唱中交织着征夫与乐官两种情感价值观念。西周末期雅诗还有一类公卿赞歌，这反映了西周后期王室的衰微、世家大族权势的蹿升。公卿赞歌与册命金文十分相似，反映了诗歌的私人性质，说明西周末期王朝礼乐已经开始畸变。 第五章论述了东周政治、礼俗背景下诸侯诗乐的兴起，“风诗”成为《诗经》歌唱的主流。“采诗”制度得到大力推行，既有出于审美娱乐需要而采集淳朴的风谣，也有出于古老的“风谏”传统而采集民间怨刺之诗。乐官是“采诗”的主要执行者，并积极介入到对“风诗”文本形态与情感价值的后期加工和修正中。作为“新乐”的“风诗”，在成为“仪式的歌唱”中，歌唱情境与具体歌唱方式都呈现出别样的风貌。 第六章分析了《诗经》颂、雅、风诗体历时递兴下两种诗乐生成模式的嬗变：《颂》《雅》“仪式乐歌”是“因乐作诗”的典型，而“变雅”及大部分“风诗”则是“因诗合乐”。而诗歌最终都入乐歌唱，因此，为便于“仪式中的歌唱”，乐官在创制诗乐时选择了比兴、套语、典型旋律等创作手法，《诗经》文本在章句结构、乱辞、顶针等修辞上也体现出“歌唱”的多方面影响。

The three hundred Odes (Classic of Poetry, Shijing) can be sung, and for a ritual purpose in particular. This thesis intended to examine the singing form of Classic of Poetry for such ritual purpose, including the circumstances, subjects, and methodologies in specific of the singing. Meanwhile, the thesis tended to focus on both the composing and applying methods of the poems in Airs (feng), Court Hymns (ya) and Eulogies (song), with changes of the connections between poetry and music in the ceremony-and-music (Liyue) cultural background of Zhou Dynasty as the clue, to understand the text composition and rhetorical means of Classic of Poetry under the influence of such singing. Thus the study of the singing in this thesis is more than a mere general description to the qualities and characteristics of the singing in Classic of Poetry, or just a specific discussion on the specific art of the singing methods, but one textual analysis based on the text and concluded in it as well. It is expected to reach a further understanding in the ceremony-and-music culture of Zhou Dynasty within the comprehensive study in the thesis. The first chapter of the thesis summarized the development of the musical instruments and dances in the Pre-Classic of Poetry period. And with the understanding of basic motifs and characteristic of the singing in this earlier period, discussion about the general situation of musical institutions (Yuezheng) in Shang Dynasty was made. Upon such historical traditions, Classic of Poetry started a brand new era of rites and music in Zhou Dynasty afterwards. In the second chapter, the characteristics and substances of the Eulogies in Classic of Poetry were firstly defined, followed by discussions of four kinds of musical characters: musicians (Yuegong), Guozi, Kings of Zhou (Zhouwang) and Ministers (Chengong) and their roles in the singing process. Changes of the characteristics and substances of the poetry music could be clarified by the different roles these characters played during the performances. The slowness of the singing (Shenghuan) as one of the main characteristics of the singing in the Eulogies was discussed at the end of this chapter, with examples stated to qualify the multi-voice suites displayed in the section. Parallel between the songs in the Eulogies and dramas were also explored in the chapter, with example of Dawu Movement (Dawu Yuezhang). The third chapter talked about the rise of singing of the Court Hymns in Classic of Poetry as the Zhou people increased their approval of the Xia people with changes in the rites and ceremonies in the mid-Western Zhou period. Poems of ancestral sacrifices (Jizu Shi) and poems of Banquet (Yanyin Shi) consisted much of the Court Hymns in mid-Western Zhou. Poems of ancestral sacrifices aiming to teach historical and ethical lessons to the noble off-springs of Zhou saw to the shaping of format in the singing known as Tuzan (praises with pictures), while poems of banquet tending to show the prosperity of the noble ceremony-and-music lifestyle in Zhou witnessed the singing with duplicated chapters and reiterative tone, formula ossified as Yueci (Orders of music). In the meantime, folk songs from the country came to be part of ritual singing during its peak. Ernan (Zhounan, also known as South of Zhou and Shaonan, also known as South of Shao), for example, came to be part of music for court ceremonies while varied the contents and forms of the singing. In general, singing of Court Hymns tended to be more professional than before, as musicians sang descriptive songs in the third person angle, which led to the separation of musicians and the ceremonies themselves. Accordingly the musicians could play and sing more independently in the procedure. In the fourth chapter, the declination of composition of the ritual songs accompanied by the downfall of the politics as well as rites and ceremonies themselves in the late Western Zhou was firstly discussed. Songs of Deviant Court Hymns (Bianya) rose, represented by poems of political satire (Fengjian Shi) and poems of campaigns and wars (Zhengyi Shi), and thus the primary purpose of singing has turned towards the intentions expressed by the poetry. Dichotomies between poem composition and singing, between poets and singers became even greater. The rise of poems of political satire was attached to ways of political expression in late Western Zhou. As direct critics were forbidden during the period, poets turned to make their political demands by means of poem-making and singing, as those are still considered reasonable in the traditions of Zhou. Specifically speaking, poems of political satire were still songs in WusuanYue. Poems of campaigns and wars became part of Court Hymns, where the attitudes of both the soldiers and musical officials who collected these poems were close knitted in them. Panegyrics on noble elites (Gongqing Zange) were also part of Court Hymns in late Western Zhou worth attended to, observed as evidences of the elimination of the imperial power as well as the elevation of the noble elites. These panegyrics on noble elites shared many similarities with appointment inscriptions (Ceming Jinwen), among which stood the private characteristic of the songs, which told the deviation of the rites and music in late Western Zhou. The fifth chapter told the rise of poems and music of the lord and aristocrats (Zhuhou Shiyue) backing the politics and customs in Eastern Zhou, during which time folk songs (Fengshi) consisted most of the songs sung. The widespread of poetry collection institution was partly because of the needs to entertain, partly of the need to pay respects to the ancient traditions of political satire. ‘Innocent’ songs were collected in the former situation whereas satiric poems were collected in the latter. Musical officials were the main executives to collect poems as well as main producers of the texts, and rectifiers of the sentimental values echoed in them. These newly made folk songs were different in both the singing contents and methods as they had become part of chants in the Ceremony. In the sixth chapter of the thesis, analyses of the differences in various poem-music composing patterns were made. Music of the ritual songs in the Court Hymns and Eulogies were firstly composed while the lyrics, or poems, were made accordingly afterwards. In the cases of songs in the Deviant Court Hymns and most folk songs, however, vis versa. Eventually, poems were expected to be expressed by means of music. Thus to sing for ritual purposes, musical officials chose composing skills like comparison (bi), stimulus (xing), formula, typical rhymes and so on. The chosen figure of speech in the poems in Classic of Poetry like luanci (epilogue) and anadiplosis and the structure of the poems themselves could also reflect the influence of singing and its patterns among them.