荀子论“乐”及其美育意义

Xunzi’s Music Theory and Its Aesthetic Significance

荀子是孔子、孟子之后儒家的代表人物,是先秦儒家思想的集大成者。荀子从音乐产生的必要性出发提出音乐的'乐情'特质,从音乐的构成原则出发提出了音乐的'中和'审美特征,从礼乐关系中看到了美善相乐的审美理想,为后世提供了比较丰富的音乐审美思想及乐教美育资源。荀子的乐教美育思想强调音乐的'乐情'性,认为音乐美育是在情感的愉悦中进行的审美和道德教育,把'育人'的个体性意义、'移风易俗'的社会价值与对音乐的审美结合起来以达到乐教的美育目的,具有一定的普世价值和借鉴意义,为我国新时期以来推行的审美教育、道德教育和和谐社会建设提供了可资参考的理论资源和思路。

Xunzi,a representative of Confucianism after Confucius and Mencius,was a master of Pre-Qin Confucianism,He pointed out the musical trait of'Emotion pleasure'from the necessity of music,the Aesthetic characteristic of'Neutralization'from the constitutive principles of music and the aesthetic ideal of'Harmony of beauty and goodness'from the relation between rituals and music,which offered abundant musical aesthetics and aesthetic education resources for offspring.Xunz’s aesthetics of music education emphasized the'emotion pleasure'of music,viewing musical aesthetic education as that of aesthetic and morals in a feeling of pleasure.To achieve aesthetic education of music by combining individual meaning of educating,social values of transforming outmoded customs and traditions with music aesthetics has universal value and significance and has provided theoretical resources and ideas for the aesthetic education,moral education and the construction of harmonious society since our country’s new period.