从《声无哀乐辩》与《声无哀乐论》的比较中看黄道周音乐美学思想

About HUANG Dao-zhou's Music Aesthetics:A Comparison Between his Debates againt Ji Kang's Sound,no Sorrow or Joy

黄道周的《声无哀乐辩》,从声之本体、声的审美标准、声情关系、声之功用等方面对嵇康的《声无哀乐论》进行反驳。从中可以看出黄道周试图用儒家的中庸之道来调节声与情的复杂关系,并极力排斥嵇康的美学思想。黄道周的探讨有助于人们关注音乐特殊性及其内在规律,但在强调中和之道及批判"声无哀乐论"之余,黄道周并未给"中和之乐"理论带来更多的新意。黄道周的音乐美学思想,也折射出晚明社会变迁对于当时文人思想的影响。

HUANG Dao-zhou＇s work Sound, without Sorrow or Joy, the debate refuted Sound, without Sorrow or Joy by Ji Kang from aspects such as sound the noumenon, sound the aesthetic standards, relation between sound and emotion, and fimction of sound, from which we read that HUANG Dao-zhou tried to regulate the complicated relationship between sound and emotion with the Confucian doctrine and strongly rejected to Ji Kang＇ s aesthetic ideology. His discussion helped people focus on the specificity and the inherent laws of music, while by emphasizing the doctrine of the mean and refuting the theory Sound, no Sorrow or Joy, not much new ideas were brought to ＂Sound of Neutrolization＂. Huang Dao-zhou＇ s musical aesthetic ideology truly reflected the influence of the changes in late Ming society on the thought of literati of that time.