《声无哀乐论》的产生原因及其评价问题

The Cause of “Music Has No Sorrow or Joy”and the Problem of its Valuation

《声无哀乐论》的产生与魏晋士人阶层的习好有着密切的关系 ,当时的音乐成为士人们曲折地与统治阶级斗争的武器。嵇康为了批判把音乐和政治完全等同起来的观点 ,提出了“声无哀乐”的论点。实际上 ,这已经超越了单纯的音乐美学范畴 ,而变成了一种以和官方音乐美学思想相对立为目的 ,仅仅凭借表面上的气势对当权者进行的带有某些浪漫气质的反抗 ,而在哲学层面上缺乏深厚的理论基础。我们要认识到其积极的意义 ,但同时也必须看到其无法突破的历史局限性。

Ji-Kang's musical theory “Music Has No Sorrow or Joy”came into existence during Chinese Wei and Jin dynasties.At that time, those people belonging to the special class“Shi”usually took advantage of music to combat the authorities secretly,and that fashion has much relationship with Ji-Kang's theory.In order to criticize the authoritative views equating music with politics,Ji-Kang advanced this theory.Actually,it's not a completely aesthetical theory,but one that aims to combat the authoritative ideology in a somewhat romantic form.However,it lacks solid philosophical foundation.So,we should be fully aware of its positive factors as well as historical limitations.