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中国古典音乐哲学所谓“发于声音”、“形于动静”的言说所蕴涵的,乃是一种“赖有我以凝道”之中国古典特色的实践人本主义哲学。人类发于声音、形于动静即运象成行的音乐艺术行为实践,既是得道的途径,又是行道的手段。就音乐艺术与人类生活的内在关系而言,音乐之符号的意义,与其用法有着不可分割的有机联系。所谓“乐体”,正是有关“乐用”即音乐之用法的范畴。音乐所谓乐体,乃是人类历史途程中各种不同社会生活行运样态的基型。正因为人类不仅能够接收可听声,而且可以主动“自发”可听声,所以听觉的音乐艺术与视觉的造型艺术比较而言,更具有主观的意味。任何可听声,都可以引起人们以自己的歌喉自发同类可听声时的同样主观体验。人类对音乐之所以会产生强烈感受的秘密,正在于每一个音符都引起了某种对应的内在生理和心理的呼应。
The implication of the so-called “sounding from the sound” and the “form from the movement” in the Chinese classical music philosophy is that it is a kind of practical humanistic philosophy of Chinese classical characteristics that “relies on me to coagulate.” Human beings in the sound, shaped in the movement that is acting as a musical art practice, both en route, but also means the road. In terms of the intrinsic relationship between musical art and human life, the meaning of the symbol of music is inextricably linked to its usage. The so-called “music body” is exactly the category of “music use” that is the usage of music. The so-called music of music, but the human history of various social life in different ways the basic pattern. It is precisely because human beings are not only able to receive audible sounds, but also can take the initiative to “audible” sound, so the auditory music art and visual modeling arts more subjective meaning. Any audible sound can evoke the same subjective experience of one’s own audible voice as one’s own voice. The secret that human beings have a strong feeling about music is that every note has given rise to some kind of corresponding internal physiology and psychology.