《吕氏春秋》音乐起源观念辨析  

Analysis of the View on the Origin of Music in Lü’s Commentaries of History

作　　者：蔡曌 Cai Zhao

机构地区：[1]扬州大学文学院 [2]扬州大学音乐学院

出　　处：《江苏社会科学》2022年第3期193-201,I0005,共10页Jiangsu Social Sciences

基　　金：江苏高校哲学社会科学研究一般项目“《吕氏春秋》的乐论思想研究”(2021SJA1963)的阶段性成果。

摘　　要：《吕氏春秋》的音乐起源观是自然性与人工性的融合。它从本体论的角度认为音乐本于“太一”,是在遵循宇宙自然和谐运行的规则下生成音乐,并在实践上发展了道家思想,将“天籁”“大音”还原为可听之乐。就具体艺术形式的音乐而言,《吕氏春秋》认为音乐生于人心。人心在合于“度量”的标准下,对“本于太一”的自然之音进行接引,经由心灵内化,外发为表达情感之乐。音乐建立了自然之乐与人心之乐的联系,消除了“自然之音”与“人工之音”的隔阂。《吕氏春秋》对于音乐的规定性,体现了人乐与自然的联动,“天德”与“人德”的融合,形成了人与自然“天人合一”的关系,调和了儒道思想中“天人合一”观念的抵牾。The view on the origin of music in Lü’s Commentaries of History is a fusion of naturalness and artificiality.From the perspective of ontology,the book believes that music originates from the"great oneness"that generates music under the rules of the natural and harmonious operation of the universe,and develops Taoist thought in practice,reducing"music of nature"and"great music"to audible music.In terms of music as a specific art form,music is born in the human heart.By the standard of"measurement",the human heart receives and guides the natural sound"from the great oneness",which is internalized by the mind and externalized as the music to express emotions.Music establishes the connection between the music of nature and the music of the human heart,and eliminates the gap between the"sound of nature"and the"sound of humans".The stipulation of music in Lü’s Commentaries of History reflects the linkage between human music and nature as well as the combination of"virtue of the heaven"and"virtue of humans",forming a harmonious relation between nature and humans,reconciling the contradiction in the concept of"harmony between humans and nature"between Taoism and Confucianism.

关 键 词：《吕氏春秋》音乐起源天人合一 “本于太一” “产乎人心” 

分 类 号：J609.2[艺术—音乐]