【摘要】：文章首次將《聲無哀樂論》和《音心對映論》作為迄今為止《樂記》研究中最具代表性的文章相提并論,并以一種全新的角度系統(tǒng)地對《聲無哀樂論》進行讀評,肯定其與《樂記》一脈相承,同時提出嵇康以《聲無哀樂論》反對《樂記》的"音有哀樂論"是文不對題,遂分類歸納其謬并予以評論。但又提出其謬許是作者"故意制造錯覺,靜觀對方的智慧如何"的假設。文章認為《音心對映論》與《聲無哀樂論》從命題看,完全相反,但后者的某些論點與前者又基本一致�！兑粜膶τ痴摗穼τ凇稑酚洝�"和律論"的挖掘,使當代音樂美學研究注重了以人為本。
[Abstract]:For the first time, this paper compares the Theory of Sound without sadness with the Theory of reflection of Sound Heart as the most representative article in the study of Le Ji so far, and systematically reads and comments on the Theory of Sound without sadness from a new angle. It is affirmed that it is in the same line with Le Ji, and at the same time, it is proposed that Ji Kang's "Theory of Sound and sadness" opposed to "Le Ji" is a wrong topic, so it is classified and summed up and commented on. However, the myth is that the author deliberately creates an illusion and waits to see the wisdom of the other side. This paper holds that the "sound-heart theory" and "the theory of voice without sorrow" are completely opposite from the proposition, but some of the latter's arguments are basically the same as the former. Make contemporary music esthetics research pay attention to people-oriented.
【作者單位】： 西北師范大學音樂學院;
【分類號】：J601

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