音声与世变——汉代俗乐中的“新声”

Music and Social Change——“Xinsheng”in the Popular Music of Han Dynasty

"新声"是汉代音乐的重要组成部分,是汉代俗乐的统称,演奏手法多样、音声多变,适合表现曲折深婉的情感,具有较强的情感穿透力和感染力。与"新声"一同指称俗乐的还有"郑卫之音"、"楚声"等。这些音乐多为"悲声",体现出两汉时期"以悲为美"的审美观念。"悲"带有鲜明的综合性特点,既指音乐类型和风格的多样性,同时也包括审美痛感与快感等。《淮南子》《论衡》等对此进行了理论总结,将"悲"定义为音乐美的本质。两汉"新声"的繁荣代表一种新的审美原则的兴起。这是一种以感官体验为基础的感性美学,重视主体对内心情感的抒发和表达,带有人性解放的性质。这一新的审美原则与此前儒家音乐美学设立的审美原则互动发展,反映了社会的发展和世变。

Xinsheng （＂新声＂） is an important part of the music, and a collective term for popular music in Han Dy- nasty. With various sounds and ways of playing, Xinsheng is suitable for showing deep feelings and has strong emotional penetration and influence. Besides Xinsheng, Zhengweizhiyin （＂郑卫之音＂） and Chusheng（＂楚声＂）are also called popular music. They are bearish and moody music. This aesthetic idea, which equates sorrow with beauty, is common in the era. Sorrow, characterized with comprehensive features, refers to the diversity of music types and styles, and the aesthetic pain and pleasure as well. The concepts and ideas are summarized in Huainanzi （《淮南子》） and Lunheng （《论衡》）and sorrow is defined as the essence of music. The prosperity of Xinsheng in Han Dynasty represents the rise of a new aesthet- ic principle. This is a kind of perceptual aesthetics based on sensory experience, which emphasizes the expression of the subjects‘ emotion aiming to free human nature. The new aesthetic principle and Confucian music aesthetics interactively develop and reflect the development of new changes in society.