主情尚趣 技道合一--明代琴乐艺术美学思想的当代观照

明代的琴乐美学思想一方面延承了儒家的传统音乐观念,一方面在宋代琴乐美学思想的基础上,更为强调琴乐艺术独特的审美作用。明代,受儒、道、释三家思想交融、激荡的影响,人们的审美诉求呈现出回归自然、本真的倾向。其中,影响广泛的主要有李贽的“发于情性,由乎自然”的审美主张,萧鸾的“以迹会神、以声致趣”的琴乐审美境界,严徵的“琴之妙,不尽在文而在声”的琴乐审美观念以及杨明的“和人心、乐其趣”的琴乐审美思想等。这些琴乐审美思想对当今乃至后世的琴乐艺术的理论与实践,有着十分重要的参考价值与启示意义。

On the dual nature of the piano teaching in the music education in normal colleges

The piano teaching in the music education in normal universities can promote the students to feel the music, and improve the students＇ music qualities. The students can get the sense of the rhythm, the sense of harmony and the sense of pitch and other musical skills in the process of learning to play the piano, thus more accurate performing the music art. For the purpose, the piano teaching in the music education in the normal universities is for the purpose of cultivating the future piano teachers or performers. In this paper, the author carries out thediscussion with the dual nature of the piano teaching in the music education in normal colleges as the theme, in order to put forward some useful strategies for the piano teaching in eoUeges and universities.