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《庄子》对《老子》音乐美学思想的发展:对音乐美追求的发展,《老子》追求美乐,《庄子》扩大了美的追求范围,揭示了审美愉悦;对音乐审美标准的发展,《老子》以“音声相和”为音乐审美标准,相和是美乐,不和是丑乐,《庄子》发展为“至乐自然”的音乐审美准则,“籁乐”、“至乐”、“天乐”是美乐,失性、屈礼、不适之乐是丑乐;对音乐美学思想的发展,《老子》追求“大音希声”的音乐境界,《庄子》发展为追求“至乐自然”的音乐之“道”。《庄子》音乐美学思想的创新:阐明了音乐的本源、功能问题,强调有声人为之乐的重要,揭示了音乐审美的心理历程。老子是道家音乐和文化的领军人物,庄子则是一号旗手。老子树起了“大音希声”的音乐美学巅峰,庄子开拓了审美心理的先河。
Zhuangzi’s development of the musical aesthetic thoughts of Lao Tzu: the pursuit of musical beauty, “Lao Tzu” pursues “Merlot”, “Zhuang Tzu” expands the pursuit of beauty and reveals the aesthetic pleasure; on the development of musical aesthetic standards, “Lao Tzu ”Aesthetic standards of music“ and ”phonetic harmony“ are the aesthetic criteria of music, which is the music beauty criterion of ”musician“ and ”musician“ ”Lele “, ”Tin Lok “ is the United States music, loss, tricycle, discomfort is ugly music; the development of musical aesthetics, ”Lao Tzu“ Musical realm, ”Zhuangzi“ develops into the ”Tao“ of the music that pursues ”natural music “. The Innovation of Zhuangzi’s Musical Aesthetics Thought: Elucidating the origin and function of music, stressing the importance of having the sound of human beings, revealing the psychological course of the aesthetic music. Lao Tzu is the leader of Taoist music and culture, while Zhuangzi is a flagman. Lao Tzu played a ”Dazhixing " peak of music aesthetics, Zhuangzi opened up the precedent of aesthetic psychology.