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蒋孔阳先生以先秦音乐为切入点,把具体的音乐与整个宇宙联系起来,把音乐与宇宙生命精神紧密地联系起来,与整个社会生活联系起来,重视从天、地、人的整个系统中谈音乐。他辩证地看待诸子的音乐思想,把儒道墨诸家思想放在一起比较,阐释其同异和特点。对于诸子的音乐美学观,他围绕礼乐关系加以分析,把“和”看作先秦音乐美学思想的核心。他还具有比较视野,注重与希腊等西方思想观念的比较,参证了柏拉图等西方学者的音乐观,并借鉴西方近现代研究成果和方法研究先秦音乐。他将诸子思想的分析和史料考证与器物考古结合起来,在历史研究中注入了当代意识,使乐器与文献相辅相成,既注重实证,又依托理论,体现了美学思想与审美意识的统一。
With his pre-Qin music as the starting point, Mr. Jiang Kongyang linked specific music with the entire universe, closely linked the music with the life spirits of the universe, and linked with the entire social life, paying attention to talking about music from the entire system of heaven, earth and human . He dialectically viewed the philosophical thoughts of the philosophers and compared the Confucian, Taoist and Mohism ideas to explain their similarities and differences. As to the philosophical aesthetics of philosophers, he analyzes his relationship between the ritual and the music, and regards “and ” as the core of pre-Qin music aesthetics. He also has a comparative field of vision, focusing on the comparison with Western ideas such as Greece, attests to the musical ideas of western scholars such as Plato and uses the western modern and modem research achievements and methods to study the pre-Qin music. He combined the analysis of philosophers’ thought with historical research and archeology of artifacts, injected modern consciousness into historical research, and made musical instruments and literatures complement each other. He not only paid attention to positivism but also relied on the theory, embodying the unification of aesthetic thoughts and aesthetic awareness.