北宋音乐美学思想综论——以范仲淹、欧阳修、司马光、王安石、苏轼为中心

A Comprehensive Review of Music Aesthetics In Northern Song Dynasty:Focusing on Fan Zhongyan,Ouyang Xiu,Sima Guang,Wang Anshi and Su Shi

范仲淹、欧阳修、司马光、王安石、苏轼五人未被《宋史》收入《道学传》,其音乐美学思想中的“宋明理学色彩”并不浓郁。五者从“本体与本源”“用途与价值”“古今与雅郑”三大方面展开其乐教思想。首先,他们以形上本体与形下本源来分别界定音乐,认为音乐的本体是气、本源来自人内在情感抒发与外在乐器的演奏;其次,他们从国家政治与社会角度,来分析音乐与人、社会及国家的关系,凸显出音乐在公共领域的社会价值属性,认为音乐的用途是国家用来进行情感教育的工具,其最大价值在于传达一种和谐中正的情感抒发范式,从而影响他人及社会,实现移风易俗;最后,由于不满乐家大多将音乐作为一种娱乐方式,忽视其教化作用,他们还论述了雅乐与郑声的区别及复兴上古乐教的具体方法。

Fan Zhongyan,Ouyang Xiu,Sima Guang,Wang Anshi and Su Shi were not included in the Biography of Taoismin Song History:They did not exhibit a strong Neo-Confucianism,instead developing their music education thoughts from three perspectives:being and origin;uses and values,and ancient and modern,and Highbrow and Lowbrow.Firstly,they distinguished between the metaphysical being and the physical origin of music,arguing that the essence of music is qi(vital energy)and its origin lies in the expression of inner human emotions and the performance of external musical instruments.Secondly,they analyzed the relationship between music,individuals,society,and the state from the perspectives of national politics and society,highlighting the social value of music in the public sphere.They believed that music was a tool used by the state for emotional education,and its greatest value lay in conveying a model of harmonious and balanced emotional expression,thus influencing others and society and achieving the transformation of customs and manners.Finally,dissatisfied with the fact that most musicians treated music merely as a form of entertainment and neglected its educational function,they discussed the distinction between refined music and vulgar music and specific methods for reviving ancient musical education.