人乐·和乐·天乐——《庄子·天运》音乐美学思想解读

Music·Harmonious Music·Natural Music: Interpretation of “Zhuangzi·Day Luck” Music Aesthetics Thought

庄子以审美的态度对待人生、对待音乐,在音乐审美中特别注重音乐的结构形式和内在意蕴与闻乐者审美体验的心理过程和审美境界的关系,追求"无言而心悦"的"无怠之声"。《天运》中北门成听乐时所产生"惧—怠—惑"逐渐变化的心理过程和审美境界与"人乐"、"和乐"、"天乐"三种不同结构形式和表现特征的音乐之间形成了一种"异质同构"的关系。庄子对"天乐"的象征性、隐喻性描述,直接从具体的艺术审美体验中走向形上境界和超越性的生命体悟,其独特的音乐美学思想对我国当代音乐美学研究与体系建构仍具有巨大的启发和借鉴作用。

Zhuangzi took aesthetic attitude towards life and music.In musical aesthetic,he particularly focused on the relationship between the structure of music and the aesthetic experience of Inner Meaning of smell musicians psychological processes and aesthetic realm,the pursuit of ＂Silent Moods＂,and ＂None Sound of Lazy＂.Day operation in the north gate into fear-lazy-confusion gradually changes the psychological processes and the aesthetic realm,with ＂music＂,＂harmonious music＂,＂natural music＂ three different forms of structure and performance when listening to music formed a kind of isomorphism relationship between the characteristics of music.Zhuangzi ＂music＂ symbolic,metaphorical description directly from the specific aesthetic experience to the metaphysical realm and the transcendent realization of life.Its unique musical aesthetic ideology of aesthetic research and system construction of China＇s contemporary music still has huge inspiration and reference.