頁籤選單縮合
題名 | 試析「聲無哀樂論」之玄理=The Analysis of Taoist Wisdom on 「聲無哀樂論」 |
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作者 | 謝大寧; | 書刊名 | 中國學術年刊 |
卷期 | 18 1997.03[民86.03] |
頁次 | 頁159-173+436-437 |
分類號 | 910.112 |
關鍵詞 | 和聲; 和聲無象; 聲音樂三分; 自然之和; 境界之和; Harmony; Harmony is heantonomy; The trilateral property of "sound, roice-qualith, music"; The harmony of nature; The harmony of higher order; |
語文 | 中文(Chinese) |
中文摘要 | 嵇康的「聲無哀樂論」一直是中國音樂美學,也是道家美學的一篇重要文獻,但歷來的詮釋者,似乎均未能將此文之樂理和道家之玄理作緊密之扣合,致使此文的詮釋始終存在著不小的漏洞。 本文之作,即旨在嘗試以中國音樂美學中「聲、音、樂」三分的結構,來指出嵇康此文思路的滑轉;其中最重要者,尤在「和」這一概念上所出現的歧義。筆者在指出此一歧義之餘,並嘗試以「境界之和」這一概念,作為此文之義理歸宿,以為稽康思想之詮釋更進一解。 |
英文摘要 | The essay “聲無哀樂論” by Zhi-kan (稽康) has long been established as a milestone in Chinese acoustic aesthetics and Taoist aesthetics. But so proposed in this essay and the Taoist wisdom, hence missing the proper appreciation of this important essay. I try to formulate here a synthesis of the trilateral property of Chinese acoustic aesthetics, namely “sound, voice-quality, music” “harmony”. In other words, while resorting to this bifurcation and making “the harmony of higher order” (境界之和 the center point of this essay, I also believe a better understanding of its is under way. |
本系統之摘要資訊系依該期刊論文摘要之資訊為主。