应、和、悲、雅、艳--陆机《文赋》音乐美学思想刍议  

On the Music Aesthetics in Lu Ji's Wen Fu

作　　者：刘亚男[1] 

机构地区：[1]西华师范大学音乐学院教师,南充637009

出　　处：《黄钟（武汉音乐学院学报）》2011年第2期91-96,共6页Huangzhong:Journal of Wuhan Conservatory of Music

摘　　要：陆机《文赋》为批评文病,使用了"应"、"和"、"悲"、"雅"、"艳"五个音乐美学范畴,并由此构成一个有机的音乐美学范畴体系。前人对"应"、"和"、"悲"、"雅"、"艳"有所讨论,但主要从文学审美角度切入,没有将其作为独立的音乐美学范畴进行研究,也未能揭示其在中国古代音乐美学史上的价值。本文从《文赋》出发,并联系陆机其他著作中的音乐资料,分别阐明这五个范畴的音乐美学内涵。陆机首次把"应"、"悲"、"艳"作为音乐美学范畴明确提出,这是他对中国音乐美学思想史的重要贡献。For criticism the faults in article,Lu Ji used five music aesthetic categories in Wen Fu： ＂ying＂（to echo,to respond to）,＂he＂（harmonious）,＂bei＂（sadness）,＂ya＂（elegant）,and ＂yan＂（gorgeous）,and thus formed an organic musical aesthetic category system.There were discussions on ＂ying＂,＂he＂,＂bei＂,＂ya＂,and ＂yan＂ by predecessors,but mainly from the viewpoint of literary aesthetic,not as an independent category of music aesthetics to research,also failed to reveal its value in the history of ancient Chinese music aesthetics.From the Wen Fu,and to contact Lu＇s other music materials,the paper was to clarify the meanings of music aesthetics in these five categories.That clearly to propose ＂ying＂,＂bei＂,and ＂yan＂ for the first time as music esthetics category was Lu Ji important contribution to the Chinese music aesthetics history.

关 键 词：《文赋》 音乐美学思想 应 和 悲 雅 艳 

分 类 号：J601[艺术—音乐]