儒家音乐思想“和”之认识  

Understanding "He" in the Confucian music thought

作　　者：谢琦[1] 张坤[2] 

机构地区：[1]贵州师范大学音乐学院,贵州贵阳550000 [2]贵州师范学院教育科学学院,贵州贵阳550000

出　　处：《佳木斯教育学院学报》2013年第5期60-61,共2页Journal of Jiamusi Education Institute

摘　　要：在中国传统的美学思想中,"和"是其中最为重要、最核心的思想观念,"和"的生成背景,是在公元前5世纪到公元前3世纪,也就是自春秋末年至战国末年(史称先秦时期)。我们所要阐述的"和"的音乐美学思想不仅在于音乐本身之"和",而且蕴涵在当时不同的政治、经济以及民族关系之中。通过对重要人物及著作论述进行阐释,我们可以感受到"和"的音乐美学思想在中国整个传统美学发展中所具有的重大意义。我们发现从现已出土的有关西周时期出土的编钟乐器,从先秦时期的孔子、荀子等诸位儒学思想家及其相关的美学著作和史书记载中都无不浸润着"和"的音乐美学思想。In the Chinese traditional thoughts of aesthetics, " He " is the most important, the core idea is among them, "background", was in fifth Century BC to third Century BC, that is from the spring and Autumn period to the late Warring States period (known as the pre-Qin period). We want to elaborate the "aesthetics of music and" is not only the music itself " He ", and contained in the political, economic and ethnic relations of different. Through discussing the important interpretation of characters and works, we can feel the great significance ofaesthetics of music "He " in Chinese traditional aesthetics with the development. We found the bells unearthed in Western Zhou Dynasty from now on musical instruments unearthed from Confucius, Xunzi, Confucian philosophers in pre-Qin period and its related aesthetic works and historical records of all without exception is infiltrating the "music aesthetics".

关 键 词：儒家音乐思想 音乐之“和” 追求 

分 类 号：B222[哲学宗教—中国哲学]