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《庄子·齐物论》的一开始就是关于“人籁”、“地籁”、“天籁”的一段对话。“人籁”指编管乐器及其乐音;“地籁”指风中发声的众多窍穴及所发出的“有万不同”之声,而“天籁”即是“地籁”众音之自然相和。通过对编管乐器作为雅乐代表性乐器、风表示民间音乐和民俗之含义的考察,我们从关于“三籁”的论述中可以看到雅乐和民乐之间的对立关系和渊源关系,从而切入先秦儒、道两家音乐思想的主要特点。庄子的三籁论就音乐这个层面来说,是对儒家乐论最切中要害的批判,是道家音乐理论的精髓所在,但道家音乐思想本身又有着走向纵欲享乐的危险。儒、道两家的音乐思想是相互纠偏的关系,两者虽针锋相对,实相互依存,共同支撑起先秦时期在音乐方面所达到的理论高度。这一结构的形成,就是以庄子三籁论的提出为标志的。
The beginning of Zhuangzi Qiwu Theory is a dialogue about the sounds of nature, the sounds of nature and the sounds of nature. “Sound of Nature ” refers to a large number of ponies and the sound of “sounds of different ” issued by the wind, and “Earth sounds ” the natural phase of the public. By examining the meaning of folk music and folklore as the representative instrument of Yale music by wind instruments, we can see the relationship between Yale and folk music and their origin from the discussion about Thus cut into the pre-Qin Confucianism, Taoist two musical ideas of the main features. On the level of music, Chuang-tzu’s three-sound theory is the most critical critique of Confucian music theory and the essence of Taoist music theory. However, Taoist musical thought itself poses the danger of going to indulgence. The musical ideas of Confucianism and Taoism are the corrections of each other. Although the two are diametrically opposed to each other and depend on each other, they jointly support the theoretical height reached in music during the pre-Qin period. The formation of this structure is marked by the proposal of Chuang-tzu San-lai.