嵇康的“声无哀乐”命题是不是心声二元论?

Ji Kang' s Theory of "Music without Sadness and Happiness" and Mind-Music Dualism

关于嵇康《声无哀乐论》是不是"心声二元论",是这方面研究深入时必然会关注到并且一直有争议的问题。心声关系是《声无哀乐论》研究的核心问题,对心声关系问题的正确把握是充分理解嵇康音乐美学思想的关键所在。文章意在回归文本,重点分析《声无哀乐论》中东野主人与秦客论辩的第四难,同时也立足于全文整体的思想基础进行分析。在第四难中,嵇康其实是在"知"这一认识论层面探讨"心声"关系,而不是在"一元"或"二元"这样本原问题的层面进行探讨。故,文章从认识论层面对该文所论"心声"关系进行深入剖析,同时也从嵇康的朴素唯物主义哲学思想以及他关于"躁静"的论述、对"声"、"乐"的区分等方面,论证"声无哀乐"命题并非是"心声二元论"。

It remains a hot and controversial issue whether Ji Kang＇ s theory of ＂music without sadness and happi- ness＂ does or does not imply ＇ mind - music dualism＇. This integral relationship is the core issue of the text Music without Sadness and Happiness. A concise grasp of this mind - music relationship is key towards fully understanding Ji Kang＇ s music aesthetic ideology.. Subsequently, this paper focuses on the text itself, while primarily analyzing its fourth debate, in which Ji Kang discussed the mind and music relationship within a perspective of epistemology, rather than ＂monism＂ and ＂dualism＂. This paper then analyzes the relationship between mind and music at the epistemological level, while proving Ji Kang＇ s theory that ＂music without sadness and happiness＂ has nothing to do with ＂mind - music dualism. ＂