嵇康与阮籍音乐美学思想之比较

【作者】 贺林林；

【导师】 罗艺峰；

【作者基本信息】 西安音乐学院 ， 音乐美学， 2011， 硕士

【摘要】 嵇康和阮籍是我国古代三国时期魏国的著名思想家、文学家、音乐家,同为“竹林七贤”的领袖人物。嵇、阮两人各自的音乐美学思想历来都被众多的学者重视且深入的研究过,特别是嵇康的《声无哀乐论》,研究者颇多。但综合比较两人音乐美学思想的文章却较少有人研究,本文旨在比较嵇、阮两人音乐美学思想的异同之处,以求对两人的思想有更全面和深入的把握,并为同一历史背景下两人的音乐美学思想比较提供一个丰富的个案研究。文章分为三个部分,第一部分为文献综述,从阮籍、嵇康、嵇阮两人比较三个层次分别进行文献梳理和述评;第二部分写嵇、阮其人,介绍阮籍和嵇康两人的生平经历,分述两人的音乐美学思想。第三部分是阮籍和嵇康两人音乐美学思想的异同比较以及原因分析,嵇、阮两人都受到魏晋时期玄学道家思潮的影响,但两人体现出更多的不同,从四个方面来论述:不同的音乐“自然观”、不同的“和”的观点、不同的社会功能观、对“郑声”看法的不同。嵇、阮两人音乐美学思想异同的原因分析,笔者认为在于社会政治历史的原因、不同的生活经历、性格等方面原因以及两人内在精神和灵魂的不同,造成了两人音乐思想的差异。在结语部分,笔者得出结论是:阮籍似道而近儒,为一文人的生命,如牟宗三先生所指出,“其底子中实有一礼乐之生命”①,本文更进一步认为其音乐美学更多是伦理学的美学,有“刑教一体,礼乐外内”、“尊卑有分,上下有等”的观念。而嵇康则“非汤武而薄周孔”,非儒而近道,又善论辩,其纯艺术的美学为一哲人的思想,牟宗三先生说:“嵇康之论乐,则以‘和声’本身之美不美为主,故其观点为纯艺术的,为纯美主义。”②故“和声无象,哀心有主。”“曲变虽众,亦大同于和。”本文认为,所谓纯艺术的美学,是指其立论主要以“声”之自然之理求“情”之无系于乐,亦如牟宗三先生所说,是“客观之纯美论”③。本文的结论虽于牟宗三先生的观点有所依托,但笔者是在音乐美学学科的立场上,考论已有研究成果并对嵇、阮两人做了细致的比对分析之后,更进一步的完善和补充了先生的观点。更多还原

【Abstract】 Back to the Three Kindom Period in ancient China, Ruan Ji and Ji Kang were both the famous thinkers,litterateures, musicians,and the top leaders of the Seven Virtuous.Their detail thoughts of musical aesthetic were emphasized and deeply studied by many schilars in various historical periods.The Ji Kang’s famous work,Music without Grief or Joy Theory,were always studied by lots of people.We got more comprehension of Ruan Ji and Ji Kang by comparing their musical aesthetic,and made a case study of Ruan Ji and Ji Kang comparision in their musical thoughts in same historical background.The first part of our study is about the life story of Ruan Ji and Ji Kang,and their musical aesthetic thoughts.The second part is comparision of their musical aesthetic thoughts.We hold that they were both affected by the Chinese metaphysics and the Taoism in the Wei and Jin period,but they were more different in their musical thoughts,especially their natural view and He view.In the third part we analysised what caused their differency and homology in musical thoughts,and we holded that the social-political-reason and differency in life,character caused the differency in their musical thoughts. In the end,we made our conclusion that Ruan Ji’s musical aesthetic was ethical and Confucianist-like,while Ji Kang’s musical aesthetic was pure-aesthetical and Taoist-like.We consulted Metaphysic Mechanism and Capacity wroted by the famous Confucianism scholar Zong San Mu,and quoted some of his theroies which has been published in works.Based on plenty of achievement made by others,we had our special point and analysis music-aesthetically in detail,and made a replenish part to the view point of Zong San Mou.更多还原