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庄子以审美的态度对待人生、对待音乐,在音乐审美中特别注重音乐的结构形式和内在意蕴与闻乐者审美体验的心理过程和审美境界的关系,追求“无言而心悦”的“无怠之声”。《天运》中北门成听乐时所产生“惧—怠—惑”逐渐变化的心理过程和审美境界与“人乐”、“和乐”、“天乐”三种不同结构形式和表现特征的音乐之间形成了一种“异质同构”的关系。庄子对“天乐”的象征性、隐喻性描述,直接从具体的艺术审美体验中走向形上境界和超越性的生命体悟,其独特的音乐美学思想对我国当代音乐美学研究与体系建构仍具有巨大的启发和借鉴作用。
Zhuangzi treats life with his aesthetic attitude and treats music. He pays special attention to the relationship between the structure and intrinsic meaning of music and the psychological processes and aesthetic realms of the aesthetic experience of the musician in the aesthetic appreciation of music. The pursuit of “silent and sweet” “No idle sound ”. “Tian Yun” in the North Gate into a music when the resulting “fear - lazy - confused,” the gradual changes in the psychological process and the aesthetic realm with the “People”, “and music ”, “ There is a ”heterogeneous isomorphism“ relationship between the three different forms of music and performance characteristics of the music. Zhuangzi’s symbolic and metaphorical description of ”Tianle " went directly from the concrete artistic aesthetic experience to the realization of metaphysical realm and transcendental life consciousness. His unique musical aesthetics thought makes a great contribution to the research and system construction of contemporary musical aesthetics in our country Still has a huge inspiration and reference.