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中国古乐的最大特点就是它的综合性,其中尤以文学性最为突出,几乎每一部古乐作品都与文学存在着千丝万屡的联系。这就是说,中国古乐的存在方式从黑格尔有关“自在”、“自为”的哲学范畴上讲是一种“自在”行为。这种“自在”的存在方式就意味着中国古乐可以折射出:(1)主观精神,即个人意识阶段,包括低级的本能、感情和高级的理性、理智和实践活动:(2)客观精神,即精神的外在表现阶段,是一种社会意识,包括法律、道德、政治、风俗等,体现为家庭、国家和各种制度。为此,我们从《春江花月夜》的鸣响中,就可以触摸到其潜在的社会理想。
The most important characteristic of ancient Chinese music is its comprehensiveness, especially its literary nature, most of which are inextricably linked to the existence of literary works. That is to say, the existence of ancient Chinese music is a “free ” behavior from Hegel’s philosophical category of “free ” and “self ”. This “free” way of existence means that Chinese ancient music can reflect: (1) the subjective spirit, that is, the stage of personal consciousness, including low instinct, emotion and advanced rational, rational and practical activities: (2) Objective spirit, that is, the external manifestation of the spirit, is a kind of social consciousness including law, morality, politics and customs, which are embodied in the family, the state and various systems. For this reason, we can touch the potential social ideal from the ringing of “Spring Jiang Hua Yue Yue Ye”.