论荀子《乐论》的音乐美学
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摘要
《荀子·乐论》(以下简称《乐论》)是我国古代第一篇思想精湛的音乐理论专述。一方面,荀子是在继承孔孟儒家文化的基础上,并融汇诸家思想写了《乐论》;另一方面也为了反对当时大肆流行的“非乐”思想。可见当时的音乐实践与《乐论》的思想有着紧密联系。本文试图从三个部分对其进行阐述:第一部分,《乐论》音乐美学思想的哲学认识论基础;第二部分,荀子对音乐的特征和欣赏的论述;第三部分,荀子对音乐功能的论述。
首先,《荀子》是一个内容相当丰富完整的理论体系,荀子“天人相分”和“人性恶”的哲学认识论是对音乐的特征、欣赏和功能认识的基础,本文正是以他的哲学认识论为基础,深入细致地探讨荀子对礼乐的认识。他在继承孔、孟礼乐思想以及结合法家思想的基础上对礼乐关系作了深刻阐述,强调了礼、乐在维护国家秩序稳定中的重要性,强化了礼教乐教的重要作用。
其次,为了反驳墨子的非乐思想,强调乐教化百姓、治理国家的重要作用,荀子深刻揭示了乐的本质特征。他指出“情动于中,故形于声”,深刻阐释了乐和情感的紧密关系,指出情感是乐的本质特征,乐是表现情感的形式。本文试图将荀子的音乐情感论和苏珊·朗格的音乐情感论进行比较,以便更加深刻地阐述荀子的音乐情感说。正是由于音乐有这样的一些特征,统治阶级便将其作为统治国家、治理社会的工具。“中和”是荀子在论乐的欣赏时一个非常重要的概念。本文试图通过对“中和”概念的阐述,揭示荀子为何将其作为音乐欣赏严格遵循的法则;同时试图对荀子关于音乐欣赏中所需具备的主客观条件的精彩见地进行阐述。
再次,由于荀子处在非乐思想四处泛滥以及社会陷入长期的战乱纷争之中,他深刻认识到乐对于个人和社会的重要作用。这使得《乐论》非常重视音乐强大的社会功能,本文因此用大量的篇幅阐述荀子“乐者乐也”——审美娱乐、“金石丝竹,道德也”——道德培养作用以及“乐以知政”——乐与政通、“以道制欲”——节制欲望、“乐者,通伦理者也”——乐与伦理、最后达到“乐者天下之大齐”等乐的社会作用。
总之,本人认为:以荀子的哲学认识论为切入点,结合《乐论》所处的社会时代、文化背景来探讨《乐论》的音乐美学思想,并将其和西方的一些音乐美学思想相对照进行阐释,具有独到的意义。
"Xun zi ? Yue Lun" (hereinafter referred to as "music theory") is the first thought of ancient China exquisite music theory specifically stated. On the one hand, Xun Zi, Confucius and Mencius in succession on the basis of Confucian culture, and to integrate various home thinking to write a "Yue Lun"; the other hand, vigorously to oppose the then popular "Non-Yue" idea. It is obvious that the practice of music and "music theory" is closely linked to the idea. This article attempts to set them in three parts: Part I, "Yue Lun" Music Aesthetics Philosophical Theory of Knowledge base; the second part of the characteristics of Xun Zi and appreciation of music exposition; third part of the music features of Xun Zi's exposition .
First, the "Xun Zi" is a very rich content of a complete theoretical system, Xun Zi, "Heaven facies" and "human nature is evil" philosophy of epistemology is the characteristics of music, appreciation and understanding of the basis functions, this paper is guided by his philosophy epistemology, based on a thorough and meticulous exploration of Xun Zi's understanding of the ritual. He inherited Kong, Meng Li Yue ideas and combining based on Legalist thought the relationship between ritual gave a profound exposition stressed the ritual, music in safeguarding national stability and public order of the importance to strengthen the propriety of the important role of music education.
Secondly, in order to refute the non-music thinking of Mo Zi, emphasizing music correctional population, an important role in governing the country, Xun Zi profoundly reveals the essence of music features. He pointed out that "Love in forgo, the thus-shaped at the sound," explains profoundly close relationship between music and emotion, that emotion is the essential feature of music, music is a form of emotional expression. This article attempts to Xun Zi's theory of music, emotion and Susan ? Langer's theory of musical emotion compared to more deeply emotional music set Xun Zi said. It is precisely because music has such a number of characteristics, the ruling class, their formal as a rule the country, governance, social tool. "And in" is the appreciation of Xun Zi in the theory of music, when a very important concept. This paper attempts to "neutral" concept of set, reveals why Xun Zi as strict compliance with the laws of music appreciation; the same time, attempts to Xun Zi on music appreciation in the subjective and objective conditions necessary for a wonderful insight to elaborate.
Third, as Xun Zi In the proliferation of Non-Yue thinking of four and the community into a long-term war battles, his profound understanding of the music for the important role of individuals and society. This makes "Music theory" attaches great importance to the social function of music, powerful, this paper therefore set out with plenty of space Xun Zi, "musicians of fun" - aesthetic entertainment, "stone string and wind music, morality also" - the role of moral development, as well as "Music to know governance "- music and Masamichi" to Road System For "- control desire," musicians, Tung ethics are also "- music and ethics, and finally to achieve" the world's great musicians Qi "and other music social role.
In short, I think: The philosophy of Xun Zi's theory of knowledge as the starting point, combined with "Yue Lun" era in which the social and cultural background to explore the "Music theory" of music aesthetics, and some of their music, and Western Aesthetics in contrast to explain, with unique significance.
首先,《荀子》是一个内容相当丰富完整的理论体系,荀子“天人相分”和“人性恶”的哲学认识论是对音乐的特征、欣赏和功能认识的基础,本文正是以他的哲学认识论为基础,深入细致地探讨荀子对礼乐的认识。他在继承孔、孟礼乐思想以及结合法家思想的基础上对礼乐关系作了深刻阐述,强调了礼、乐在维护国家秩序稳定中的重要性,强化了礼教乐教的重要作用。
其次,为了反驳墨子的非乐思想,强调乐教化百姓、治理国家的重要作用,荀子深刻揭示了乐的本质特征。他指出“情动于中,故形于声”,深刻阐释了乐和情感的紧密关系,指出情感是乐的本质特征,乐是表现情感的形式。本文试图将荀子的音乐情感论和苏珊·朗格的音乐情感论进行比较,以便更加深刻地阐述荀子的音乐情感说。正是由于音乐有这样的一些特征,统治阶级便将其作为统治国家、治理社会的工具。“中和”是荀子在论乐的欣赏时一个非常重要的概念。本文试图通过对“中和”概念的阐述,揭示荀子为何将其作为音乐欣赏严格遵循的法则;同时试图对荀子关于音乐欣赏中所需具备的主客观条件的精彩见地进行阐述。
再次,由于荀子处在非乐思想四处泛滥以及社会陷入长期的战乱纷争之中,他深刻认识到乐对于个人和社会的重要作用。这使得《乐论》非常重视音乐强大的社会功能,本文因此用大量的篇幅阐述荀子“乐者乐也”——审美娱乐、“金石丝竹,道德也”——道德培养作用以及“乐以知政”——乐与政通、“以道制欲”——节制欲望、“乐者,通伦理者也”——乐与伦理、最后达到“乐者天下之大齐”等乐的社会作用。
总之,本人认为:以荀子的哲学认识论为切入点,结合《乐论》所处的社会时代、文化背景来探讨《乐论》的音乐美学思想,并将其和西方的一些音乐美学思想相对照进行阐释,具有独到的意义。
"Xun zi ? Yue Lun" (hereinafter referred to as "music theory") is the first thought of ancient China exquisite music theory specifically stated. On the one hand, Xun Zi, Confucius and Mencius in succession on the basis of Confucian culture, and to integrate various home thinking to write a "Yue Lun"; the other hand, vigorously to oppose the then popular "Non-Yue" idea. It is obvious that the practice of music and "music theory" is closely linked to the idea. This article attempts to set them in three parts: Part I, "Yue Lun" Music Aesthetics Philosophical Theory of Knowledge base; the second part of the characteristics of Xun Zi and appreciation of music exposition; third part of the music features of Xun Zi's exposition .
First, the "Xun Zi" is a very rich content of a complete theoretical system, Xun Zi, "Heaven facies" and "human nature is evil" philosophy of epistemology is the characteristics of music, appreciation and understanding of the basis functions, this paper is guided by his philosophy epistemology, based on a thorough and meticulous exploration of Xun Zi's understanding of the ritual. He inherited Kong, Meng Li Yue ideas and combining based on Legalist thought the relationship between ritual gave a profound exposition stressed the ritual, music in safeguarding national stability and public order of the importance to strengthen the propriety of the important role of music education.
Secondly, in order to refute the non-music thinking of Mo Zi, emphasizing music correctional population, an important role in governing the country, Xun Zi profoundly reveals the essence of music features. He pointed out that "Love in forgo, the thus-shaped at the sound," explains profoundly close relationship between music and emotion, that emotion is the essential feature of music, music is a form of emotional expression. This article attempts to Xun Zi's theory of music, emotion and Susan ? Langer's theory of musical emotion compared to more deeply emotional music set Xun Zi said. It is precisely because music has such a number of characteristics, the ruling class, their formal as a rule the country, governance, social tool. "And in" is the appreciation of Xun Zi in the theory of music, when a very important concept. This paper attempts to "neutral" concept of set, reveals why Xun Zi as strict compliance with the laws of music appreciation; the same time, attempts to Xun Zi on music appreciation in the subjective and objective conditions necessary for a wonderful insight to elaborate.
Third, as Xun Zi In the proliferation of Non-Yue thinking of four and the community into a long-term war battles, his profound understanding of the music for the important role of individuals and society. This makes "Music theory" attaches great importance to the social function of music, powerful, this paper therefore set out with plenty of space Xun Zi, "musicians of fun" - aesthetic entertainment, "stone string and wind music, morality also" - the role of moral development, as well as "Music to know governance "- music and Masamichi" to Road System For "- control desire," musicians, Tung ethics are also "- music and ethics, and finally to achieve" the world's great musicians Qi "and other music social role.
In short, I think: The philosophy of Xun Zi's theory of knowledge as the starting point, combined with "Yue Lun" era in which the social and cultural background to explore the "Music theory" of music aesthetics, and some of their music, and Western Aesthetics in contrast to explain, with unique significance.
引文
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[2]孟轲.孟子[M].广东:广州出版社,2001: 236.
[3]梁启雄.荀子简释[M].北京:中华书局,1983: 109.
[4]马克思著.马克思恩格斯选集[M](一).北京:人民出版社,1972: 18.
[5]王岩峻,吉云译注.论语[M].太原:山西古籍出版社.2003: 133.
[6]莱斯利·史蒂文森著.袁荣生张蕖生译.人性七论[M].北京:商务印书馆出版,1999:4.
[7]吉联抗.孔子,孟子,荀子乐论[M].北京:人民音乐出版社,1959: 20.
[8]齐豫生论语[M].长春:北方妇女儿童出版社,2006: 56.
[9]杨伯峻.论语译注[M].第二版.北京:中华书局,1980: 149.
[10]蒋孔阳.先秦音乐美学思想论稿[M].北京:人民文学出版社,1986: 179.
[11]杨伯峻.论语译注[M].第二版.北京:中华书局,1980: 78.
[12]李泽厚.美学三书,华夏美学[M].天津:天津社会科学院出版社,2003: 209.
[13]柏拉图著.朱光潜译.柏拉图文艺对话集[M].安徽:安徽教育出版社,1959: 73.
[14]苏珊·朗格.情感与形式[M].北京:中国社会科学出版社,1986: 36-42.
[15]苏珊·朗格.滕守尧,朱疆源译.艺术问题[M].北京:中国社会科学出版社,1983:57.
[16]苏珊·朗格.情感与形式[M].北京:中国社会科学出版社,1986: 36.
[17]http://www.jjdes.com/Article.asp?id=1700.
[18]http://www.jjdes.com/Article.asp?id=1906.
[19][汉].许慎撰,说文解字[M].北京:中华书局影印,1963: 100.
[20]王国维.宋元戏曲史[M].北京:东方出版社,1996: 1.
[21]李荀华诗乐舞三位一体的文化解读[J].中国文学研究, 2009第2期.
[22]郭预衡.中国古代文学史[M].一.上海:上海古籍出版社,1998: 29.
[23]蒋孔阳.先秦音乐美学思想论稿[M].北京:人民文学出版社,1986: 22.
[24]吉联抗译注.孔子,孟子,荀子乐论[M].北京:人民音乐出版社,1959: 1.
[25]莱斯利·史蒂文森著.袁荣生,张蕖生译.人性七论[M].北京:商务印书馆出版,1999:8.
[26]蒋孔阳.先秦音乐美学思想论稿[M].北京:人民文学出版社,1986: 24.
[27]杨伯峻.论语译注[M].第二版.北京:中华书局,1980: 188.
[28]吉联抗.孔子,孟子,荀子乐论[M].北京:人民音乐出版社,1980: 11.
[29]蔡仲德.中国音乐美学史[M].(修订版).北京:人民音乐出版社.2003: 196.
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