本文選題：音樂　切入點：情感　出處：《沈陽師范大學》2013年碩士論文

【摘要】：對儒家、道家思想而言，音樂不只是個人情智的體現(xiàn)，還是社會生活的反映。究竟儒道兩家如何論證音樂思想中的“知、情、志”，如何描述“知、情、志”相互交融、求同存異的過程和精髓，是探討儒道兩家音樂思想中不可忽視的課題。 所謂“知”性追求，就是主體對客體的認知、感知。荀子認為一切知皆來源于內(nèi)心的感受。“知”這種主觀感受通過發(fā)揮主觀能動性，借由外在感官將感覺傳達到內(nèi)心，維護主觀感知世界與客觀現(xiàn)實世界穩(wěn)定的關(guān)系，儒家思想中對知的追求可謂是具有重要的代表性。而道家思想則反駁“知”的存在，堅持一切事物的自然性，認為自然的才是最美的。 儒道音樂思想中的“情”最蘊涵深意，主體對客體情感的投入是誕生優(yōu)秀音樂作品的前提，通過把個人情感與音樂本體融為一體，進而釋放出更多的形制、情志。儒家主張音樂應符合倫理之情，是主體情感投入后所產(chǎn)出的實際成果，它是決定樂之所以為樂的根本條件。道家音樂思想則推崇本真之情，，拒絕音樂中加入任何情欲。 “志”的體現(xiàn)是通過“知”與“情”來實現(xiàn)的，志趣的實現(xiàn)過程是主體對客體賦予思想，使聽樂者受之感悟。儒家思想向來重視音樂教化，認為通過禮樂的熏陶可以改變?nèi)说淖陨硇摒B(yǎng)以及社會的風氣，達到治國安邦的理想狀態(tài)。而道家思想則以自然適性之樂回復社會的原始面貌，反對音樂教化，一切與自然為師。 儒道音樂思想中的“知、情、志”與現(xiàn)實相結(jié)合體現(xiàn)在對藝術(shù)作品的創(chuàng)作和欣賞兩方面。就作者而言，將內(nèi)心情志化為外在形象是其創(chuàng)作的目的，這是一種作者認知的體現(xiàn)；就欣賞者而言，即必須通過探索藝術(shù)品的外在形象，進而尋找出作者蘊藏在其中的情志，才能從體驗作者的情境情志而理解作品的意義意味，這是一種體知，可以說體現(xiàn)和體知這種雙向交流的心靈活動是儒道音樂思想中的“知、情、志”這個概念的具體體現(xiàn)。 本文力圖在哲學、美學、史學的文化背景下，探尋儒道音樂思想中的“知、情、志”，挖掘其內(nèi)在之質(zhì)、生發(fā)之源、流脈之深。
[Abstract]:To Confucianism and Taoism, music is not only a reflection of human intelligence, but also a reflection of social life.How the Confucianism and Taoist schools demonstrate the "knowledge, emotion, ambition" in music thought, and how to describe the process and essence of "knowing, feeling and will", seeking common ground while reserving differences, is a subject that can not be ignored in the music thought of Confucianism and Taoism.The so-called "knowledge" pursuit is the subject's cognition and perception of the object.Xunzi believes that all knowledge comes from inner feelings.The subjective feeling of "knowing" can be regarded as an important representative of the pursuit of knowledge in Confucian thought, by exerting subjective initiative, conveying the feeling to the heart by external senses, and maintaining the stable relationship between the subjective perceptual world and the objective real world.Taoism refutes the existence of "know", insists on the naturalness of all things, and thinks that nature is the most beautiful thing.The "emotion" in the music thought of Confucianism and Taoism contains the most profound meaning, the subject's input to the object emotion is the premise of the birth of the excellent music works, by combining the personal emotion with the music body, and then releasing more forms and feelings.Confucianism holds that music should conform to ethics and be the actual result of the subject's emotional input, which is the basic condition for determining the reason why music is happy.The Taoist music thought respected the true feelings and refused to add any lust to the music.The embodiment of "Zhi" is realized by "knowing" and "feeling", and the process of realizing interest is that the subject endows the thought to the object and makes the listener understand it.Confucianism has always attached importance to music education, thought that through the influence of etiquette and music can change the self-cultivation and social atmosphere, to achieve the ideal state of governing the country.The Taoist thought reverts to the original appearance of society with the music of natural adaptation, opposes music education, and everything and nature as a teacher.The combination of knowledge, emotion and ambition in Confucianism and Taoism is embodied in the creation and appreciation of works of art.As far as the author is concerned, the purpose of his creation is to transform his inner feelings into external images, which is the embodiment of his cognition; for appreciators, it is necessary to explore the external images of works of art, and then to find out the feelings in which the author lies.Only then can we understand the meaning of the work from the experience of the author's situational feelings. This is a kind of body knowledge, which can be said to be the concrete embodiment of the concept of "knowing, feeling, will" in Confucianism and Taoism music thought.Under the cultural background of philosophy, aesthetics and historiography, this paper tries to explore the "knowledge, emotion and ambition" in the music thought of Confucianism and Taoism, and to dig out its inner quality, the source of its birth and the depth of its flow.
【學位授予單位】：沈陽師范大學
【學位級別】：碩士
【學位授予年份】：2013
【分類號】：J601

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本文編號：1687362