论中国社会早期的音乐哲学

A Research on the Musical Philosophy of Early China

在现代形态的音乐史研究中,人们已习惯于将审美价值视为音乐的核心价值,将音乐的历史看作被"审美"一词限定的历史,但在中国社会早期,音乐的价值却远远溢出了美的边界,几乎可以将中国人的天地人神之思一网打尽。就哲学而言,这种围绕音乐的思考主要表现在三个方面:一是将道、气、风、声视为音乐的本源,从而将人工艺术与天地自然打通;二是将声律、音律或乐律理解为具有普遍约束力的律法,从而将音乐秩序挪移为宇宙秩序;三是以道论、数论和气论为音乐进行本体论定位,从而使音乐的价值获得形而上的阐明。要而言之,在中国社会早期的观念中,音乐被视为世界存在的基本性状,它的哲学品格要远远大于美学品格。这预示着一种回归中国历史本身的音乐史研究,必须超越美和艺术的限界,将其作为一种普遍性的世界经验来看待。

Aesthetic value is considered as the kernel value of the musical history study in the paradigm of themodernity; correspondingly,the history of music is strictly confined by the term of aesthetics.The value of mu-sic in the early stage of Chinese society is however exceedingly broader than the confinement of beauty assuch,that it almost touches upon all topics of Chinese thinking——heaven and earth,God and human beings.The philosophical thinking about music in Pre-Qin and Han Dynasty is mainly expressed in three aspects： tosee Tao,Qi,wind and sound as the origin of the music,thereby interlinking the natural and the artificial; to un-derstand the law of tonality,rhythm or sound as the universal law,thus transcoding the order immanent in mu-sic into the order of the universe; to locate the ontology of music with Taoism,traditional Chinese number theo-ry and the theory of Qi,so that the value of music can be elucidated ontologically.To sum up,music is regard-ed as the fundamental properties of the being in the ancient Chinese philosophical thinking; accordingly,itsphilosophical character surpasses aesthetical character,which means that the study of the musical history root-ed in the Chinese history itself must transcend the boundaries of the beauty and art,hence to see music as auniversal world experience.