《乐记》与《艺术哲学》音乐发生学思想对比研究  

A Contrastive Study on the Thoughts of Music Genesis in Yeh chi and Philosophy of Art

作　　者：路拓宇 罗皓天 

机构地区：[1]中央民族大学哲学与宗教学学院,北京

出　　处：《哲学进展》2024年第2期317-323,共7页Advances in Philosophy

摘　　要：本文通过对《乐记》和谢林有关音乐发生学的论述,总结并比较二者的思想。总结工作大致以“人作乐”和音乐本质两个方面展开。《乐记》中的“音”接近现代意义上的音乐,而“乐”则类似戏剧。二者都发自人心。《乐记》认为“乐”是天、地两种本体论力量运动的和谐,将其视为万物产生的原则。谢林则从自我意识出发,演绎音乐作品在人心内的起源。谢林论述了声音、节奏等概念,用思辨的方法建构了音乐的本质,最终得到音乐是天体运动的形式这一结论。本文最终认为,《乐记》对音乐发生学的演绎相较于谢林过于概括。在对音乐的理解上,二者各有优劣。This paper summarizes and compares Schelling’s thoughts on Music genesis through the discussion of Yeh chi. The summary work is mainly carried out in two aspects: “music made by human” and metaphysical essence of music. The “sound” in Yeh chi is close to music in the modern sense, while the “music” is similar to drama. Both are heartfelt. Yeh chi thinks that “music” is the harmony of the movement of two ontological forces, heaven and earth, and regards it as the principle of the creation of all things. Schelling, on the other hand, interprets the origin of musical works in the human mind from the perspective of self-consciousness. Schelling discussed the concepts of sound and rhythm, constructed the essence of music in a speculative way, and finally came to the conclusion that music is the form of celestial motion. In the end, this paper thinks that the interpretation of music genesis in Yeh chi is too general compared with Schelling. In the understanding of music, both have their advantages and disadvantages.

关 键 词：《乐记》 谢林 《艺术哲学》 音乐发生学 

分 类 号：G63[文化科学—教育学]