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在中国古典乐道看来,所谓音乐者,正是以“道、形、器”中“形”之层面的乐象即音响动态模型,来明示亘古不易之万物行运大道。一方面,乐象就其作为模型而言,势必先行“遗忘己象”,从而先天地失落了自己最为具像的方面;就其根本不可能对世间其它事象进行几何拓扑模拟而言,又先天地失落了对象事件之最为具像的方面;所余者,仅是音响动态模型与其模拟之对象事件所共有的某种同态同行之抽象的品质。正是这种抽象的品质,使其具有了基型的概括能力。另一方面,乐象即音响动态模型又具有王夫之所说“据器而道存,离器而道毁”的特殊品质。因此,所谓乐象即音响动态模型,乃是墨子所谓“达·类·私”三级范畴中“类”一级的“类象”。在此“类象”之中,道、形、器三者“统一乎一形”,而成为“直观之知识”。
In the view of classical Chinese music, the so-called musician refers precisely to the acoustic dynamic model of the “form” in the “Tao, Shape, and Instrument” to express the avenue that has never been easy to do. On the one hand, as its model, Le Xiang is bound to be the first to “forgotten its own image,” so as to congenitally lose one of its most concrete aspects. As far as it is impossible to perform geometric topological simulation on other things in the world, The world has lost the most concrete aspects of the object events; the rest are only the abstract qualities of some homomorphic counterparts shared by the acoustic dynamic model and its simulated object events. It is this abstract quality that gives it the ability to generalize. On the other hand, the music like the dynamic model of the sound has the special qualities that Wang Fuzhi called “data storage and destruction from the device.” Therefore, the so-called music like the dynamic model of sound is the “class image” at the “class” level in the three categories of Mozi’s so-called “class · private”. In this “class image,” the Tao, the form and the three are “unifying the oneness” and become “intuitive knowledge.”