临终绝响:对嵇康乐论的绎读与反思  

The Last Sound of the End of Life:Interpretation and Reflection on Ji Kang's Music Theory

作　　者：王维 WANG Wei(School of Music,Wenzhou University,325000,Zhejiang,China)

机构地区：[1]温州大学音乐学院,浙江温州325000

出　　处：《铜仁学院学报》2024年第4期33-38,64,共7页Journal of Tongren University

基　　金：国家社科基金项目“儒释道视阈下的魏晋乐论思想研究”(18BZW004)。

摘　　要：嵇康的《声无哀乐论》与《琴赋》两篇乐论都试图从自然时间的角度营造一种音乐的审美意象(和声、雅琴),其目的是为了对人间的意义秩序进行重建。然而如果以“和声”的审美意象替代神圣价值作为终极依据的话,嵇康所言的“无中于淫邪”只是改变了与“淫邪”的相处模式,心与声同处于此岸时间而没有实现真正的超越。嵇康发出的“《广陵散》于今绝矣”的临终绝响似乎在告诫后人,以有限的人性想要占据终极实在的价值位置,终将带来精神的幻灭。Ji Kang's two music theories,On the Sound without Sorrow and Joy and Qin Fu,attempt to create an aesthetic image of music(harmony,elegant qin)from the perspective of natural time,with the aim of reconstructing the order of meaning in the human world.However,if the aesthetic image of"harmony"is used instead of sacred values as the ultimate basis,Ji Kang's statement of"not being in the midst of lust"only changes the mode of coexistence with"lust",and the heart and voice are on this shore of time without achieving true transcendence.The dying voice of Ji Kang's Guangling San seems to warn future generations that occupying the ultimate value position with limited humanity will ultimately lead to spiritual disillusionment.

关 键 词：嵇康 乐论 和声 郑声 至人 

分 类 号：I206.2[文学—中国文学]