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汉语拼音：lǐ yuè

1.礼节和音乐。古代帝王常用兴礼乐为手段以求达到尊卑有序远近和合的统治目的。

1. 礼节和音乐。古代帝王常用兴礼乐为手段以求达到尊卑有序远近和合的统治目的。

   《礼记·乐记》：“乐也者，情之不可变者也；礼也者，理之不可易者也。乐统同，礼辨异。礼乐之説，管乎人情矣。” 孔颖达 疏：“乐主和同，则远近皆合；礼主恭敬，则贵贱有序。”《吕氏春秋·孟夏》：“乃命乐师习合礼乐。” 高诱 注：“礼所以经国家，定社稷，利人民；乐所以移风易俗，荡人之邪，存人之正性。” 唐 杜甫 《秋野》诗之三：“礼乐攻吾短，山林引兴长。”

• These rite-music graved and could be used as etiquette, ceremonies and education, but they had not value of appreciation.

  这些礼乐庄重典雅，可用于礼制、仪式、教化，但缺乏欣赏价值。

• "Benevolence" is the music's core, there is no "benevolence" of the music, but the form of body, the hypocrisy of the instrument section.

  “仁”是礼乐的内核，没有“仁”的礼乐，只是形式躯壳、虚伪的仪节。

• Zhou Dynasty ritual music culture begin from "beauting music" and concluding in the time of the court music secularization.

  周代礼乐文化从“乐”的雅化开始起步，到雅乐的世俗化结束，历经西周、春秋五百余年。

• The concept of elegant legitimism is the value goal of Tang Taizong s etiquette-music cultural view and literary thought.

  在唐太宗的礼乐文化观和文学思想中共同贯穿了雅正的价值目标。

• Every person of each grade in the hierarchy enjoyed the type of rites and music assigned to his particular grade.

  某一等级的人，才能目享用这一等级的礼乐。

• The music culture of the Zhou Dynasty looks on the relationship between the voice and qi with rational spirit, stresses the rule of will.

  周代礼乐文化用理性精神看待声与气之间的关系，强调志的统辖作用。

• As a ruling measure an instrument of education, the status and function of music and dance art were given unprecedented attention.

  作为一种统治手段--礼乐教化的工具，乐舞艺术的地位和作用也被提到了前所未有的高度。

• The concrete show of academic spirit is a new spirit that "music system" open "acquisition, line, move, with" a new spirit.

  学术精神的具体表现则是，于“礼乐制度”上开出“习、行、动、用”的一套新精神。

• The next word, opera, the Silk Road, the four major music performers to make the opening ceremony reached a climax in part.

  接下来的文字、戏曲、丝路、礼乐四年夜部门表演使揭幕式到达了飞腾部门。