天籁:少数民族音乐的生态美学意蕴

Sounds of Nature: Ecological Aesthetic Connotation of Minority Music

"天籁"最早见于《庄子·齐物论》,后人将最好的音乐誉为"天籁"。黑格尔的《美学》第三卷中也曾将音乐的本真性称作"天籁"。中国古代的音乐理论更倾向于把音乐放在天地之间的自然大系统中加以考察,因此也更富有生态精神。"天籁"应视为音乐发生学的重要概念。本文以少数民族音乐为范例,从生态美学观念出发,认为好的音乐是与自然"素面相见"的音乐,是葆有人类淳朴天性的音乐,即古典音乐理论中所说的"天籁",这是一笔宝贵的精神生态资源。少数民族原生态音乐作为人类生命网络中的生物性遗传与文化性遗传,是维护人类自然本性、生命本色、健康精神生活的源头活水,后现代的音乐学理论的建设可以从中吸取丰富的营养。

＂ Sounds of nature＂ was firstly recorded in the article ＂ On the Equality of Things＂ in Zhuangzi. Later gen- erations call best music ＂ sounds of nature＂. Hegel deems truth of music as sounds of nature. Ancient Chinese musical theory tends to research music in the grand system of heaven and nature. ＂ Sounds of nature＂ should be recognized as a significant concept of music genetics. Taking minority music as a case, and taking ecological aesthetics as the starting point, this paper thinks that excellent music is that music meets nature with original appearance. As an ecological and cultural heritage in human living net, original minority music is a fresh current of protecting human＇s nature, true quality and healthy life. Postmodern musicology construction could absorb a rich nutrition.