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本文主要论述了稽康的音乐美学思想,他从音乐本身阐述了音乐的内在和自身形态特点,肯定了音乐的形式美,它同儒家的功力音乐思想是相对立的。“声无哀乐论”在中国和世界美学史上有着不可估量的艺术价值。
This article mainly discusses Jikang’s musical aesthetics thought. He elaborated the inner and self-characteristics of music from the music itself, affirmed the formal beauty of music, and contrasted with Confucian thought of skill music. “Sound without sorrow and sorrow” has immeasurable artistic value in the history of aesthetics of China and the world.