刘勰“乐心在诗”观的音乐审美实践

【作者】 覃勤；

【导师】 韩万斋；

【作者基本信息】 四川师范大学 ， 音乐学， 2011， 硕士

【摘要】 人们常常探讨情感对音乐的重要性,却未必在音乐活动中对情感做到真正的重视。而实际上,自古音乐艺术与诗歌艺术都各有其源可溯,二者之间且有着几乎无法分割的紧密联系。纵观先秦以来的乐舞、琴曲、琴歌,秦汉以来的乐府诗、清商乐,唐宋曲子词,以及近现代古诗词艺术歌曲等“诗乐”,经过几千年文化的积淀与浮沉,诗心、诗情、诗意依然贯穿始终。诗歌文化已深入渗透在中国传统音乐艺术的“骨髓”里。南北朝文学批评家刘勰在其所著《文心雕龙》的《乐府》、《声律》、《明诗》、《时序》等多篇文论中都兼有论述中国传统音乐的美学理论,特别在《乐府》篇中,对中国“乐”与“诗”的关系作了详尽的论证与阐述,其“乐心在诗”的音乐美学观点,体现出“乐”与“诗”的情感共鸣,并紧扣音乐表达情感的本质。笔者从文论中得到启发,欲从“乐心在诗”的观点出发,厘清中国历代“乐”与“诗”的分合渊源及关系,在此基础上对相关音乐作品作出审美分析,以证明刘勰“乐心在诗”的音乐美学观点在其自身存在之前后已分别得到音乐实践的确证。这一富有价值的、闪光的音乐美学思想,仍应得到传承与弘扬。然而,自工业革命以来,科学分工导致的各学科、各门类、各行业日益“精”化、“量”化、“技”化之风,幸也不幸地吹进了艺术乃至音乐领域。至当代中国:在理论方面,由于过多借鉴西方而难以突破已存在的“曲式”桎梏,而不够重视中国音乐自身的结构及内在的文化精髓;在创作方面,正逐渐遗失传统诗乐的凝练与雅致;在演唱方面,名为“专业化”实为“技术化”的、对“难”高与“美”声的极化追求便逐渐形成一种倾向,从而冲淡了从“情”出发的初衷……本文终章试从理论、创作、演唱三方面分析,指出当代大氛围下乐中“诗”、“心”渐趋弱化的这一现象,强调“乐心在诗”而诗心在“情”,由此提出情感对音乐的重要性这一问题。故此,我们更应将“古人唱歌兼唱情”的音乐审美准则贯彻到底,将“乐心在诗”的审美观念传承下去。更多还原

【Abstract】 people, at most of time, always ignore emotion during their music performance and activities. In fact,music and poem, as two kinds of art, have their own origin from ancient time but there seems a close relationship between them so as seldom to be split. Skimming through our five thousand years’history, the specific style of poem has been run through almost all the melodies and songs from Qin Dynasty to contemporary time. Shaped and carved by the long-cumulated Chinese culture, poetry has already been deeply permeated into the“marrow”of our traditional music culture. Liu Xie, one of the famous art critics in the Northern and Southern Dynasties, expressed numerous esthetics theories regarding to Chinese traditional music in his work called Wen Xin Diao Long, especially in the chapters Yue Fu, Sheng Lu, Ming Shi and Shi Xu. In Yue Fu, Liu Xie demonstrated the relationship between music and poem. His viewpoint on esthetics that“the essence of music is poetry”embodies the same working track of both music and poem and the ability of music to express feelings. The author of this essay was inspired by those famous works, planning to draw a whole picture of the relationship between music and poem. The essay starts its point from the viewpoint that“the essence of music is poetry”and made analysis on relative music pieces. All the analysis is woking for proving Liu Xiu’s wise viewpoint on music and poem and his thought should be passed down by generations.Since the Industrial revolution, however, the conception- dividing work scientificly was advocated rapidly. The tread that too much emphasis was applied on specific work division and skill presentation is spreading to all fields, including arts and music. : On the aspect of theories, the existed western frame and structure is difficult to be broken due to copy too much from western Music on the style of melody and skills and always pay less attention on the culture essence and self-structure of our own Chinese traditional music. On the aspect of music creating, parts of modern Chinese melody creation are on the edge of losing the condensation and elegance of Chinese traditional music. On the aspect of music performance, the so-called“professional”performance is almost merely a kind of excessive pursuit for superior singing skills, diluting and violating the basis of music performance: singing and performing with naturally internal feelings.By analyzing from music creation and music performance, the last chapter of this essay points out and criticizes the phenomena that beauty of poem and real emotions has been gradually weakened in music creation, theories and performance, emphasizing“the essence of music is poetry”but the essence of poetry is“emotion”. The issue on the importance of emotion in music is brought forward as the final conclusion.Therefore, the esthetics theory and rule that“ancient people singing songs with delivering emotions should be carried out , and the viewpoint on music appreciation that“the essence of music is poetry”should be passed down with ages goes by.更多还原