刘勰“乐心在诗”观的音乐审美实践
|
摘要
人们常常探讨情感对音乐的重要性,却未必在音乐活动中对情感做到真正的重视。而实际上,自古音乐艺术与诗歌艺术都各有其源可溯,二者之间且有着几乎无法分割的紧密联系。纵观先秦以来的乐舞、琴曲、琴歌,秦汉以来的乐府诗、清商乐,唐宋曲子词,以及近现代古诗词艺术歌曲等“诗乐”,经过几千年文化的积淀与浮沉,诗心、诗情、诗意依然贯穿始终。诗歌文化已深入渗透在中国传统音乐艺术的“骨髓”里。南北朝文学批评家刘勰在其所著《文心雕龙》的《乐府》、《声律》、《明诗》、《时序》等多篇文论中都兼有论述中国传统音乐的美学理论,特别在《乐府》篇中,对中国“乐”与“诗”的关系作了详尽的论证与阐述,其“乐心在诗”的音乐美学观点,体现出“乐”与“诗”的情感共鸣,并紧扣音乐表达情感的本质。笔者从文论中得到启发,欲从“乐心在诗”的观点出发,厘清中国历代“乐”与“诗”的分合渊源及关系,在此基础上对相关音乐作品作出审美分析,以证明刘勰“乐心在诗”的音乐美学观点在其自身存在之前后已分别得到音乐实践的确证。这一富有价值的、闪光的音乐美学思想,仍应得到传承与弘扬。
然而,自工业革命以来,科学分工导致的各学科、各门类、各行业日益“精”化、“量”化、“技”化之风,幸也不幸地吹进了艺术乃至音乐领域。至当代中国:在理论方面,由于过多借鉴西方而难以突破已存在的“曲式”桎梏,而不够重视中国音乐自身的结构及内在的文化精髓;在创作方面,正逐渐遗失传统诗乐的凝练与雅致;在演唱方面,名为“专业化”实为“技术化”的、对“难”高与“美”声的极化追求便逐渐形成一种倾向,从而冲淡了从“情”出发的初衷……
本文终章试从理论、创作、演唱三方面分析,指出当代大氛围下乐中“诗”、“心”渐趋弱化的这一现象,强调“乐心在诗”而诗心在“情”,由此提出情感对音乐的重要性这一问题。
故此,我们更应将“古人唱歌兼唱情”的音乐审美准则贯彻到底,将“乐心在诗”的审美观念传承下去。
people, at most of time, always ignore emotion during their music performance and activities. In fact,music and poem, as two kinds of art, have their own origin from ancient time but there seems a close relationship between them so as seldom to be split. Skimming through our five thousand years’history, the specific style of poem has been run through almost all the melodies and songs from Qin Dynasty to contemporary time. Shaped and carved by the long-cumulated Chinese culture, poetry has already been deeply permeated into the“marrow”of our traditional music culture. Liu Xie, one of the famous art critics in the Northern and Southern Dynasties, expressed numerous esthetics theories regarding to Chinese traditional music in his work called Wen Xin Diao Long, especially in the chapters Yue Fu, Sheng Lu, Ming Shi and Shi Xu. In Yue Fu, Liu Xie demonstrated the relationship between music and poem. His viewpoint on esthetics that“the essence of music is poetry”embodies the same working track of both music and poem and the ability of music to express feelings. The author of this essay was inspired by those famous works, planning to draw a whole picture of the relationship between music and poem. The essay starts its point from the viewpoint that“the essence of music is poetry”and made analysis on relative music pieces. All the analysis is woking for proving Liu Xiu’s wise viewpoint on music and poem and his thought should be passed down by generations.
Since the Industrial revolution, however, the conception- dividing work scientificly was advocated rapidly. The tread that too much emphasis was applied on specific work division and skill presentation is spreading to all fields, including arts and music. : On the aspect of theories, the existed western frame and structure is difficult to be broken due to copy too much from western Music on the style of melody and skills and always pay less attention on the culture essence and self-structure of our own Chinese traditional music. On the aspect of music creating, parts of modern Chinese melody creation are on the edge of losing the condensation and elegance of Chinese traditional music. On the aspect of music performance, the so-called“professional”performance is almost merely a kind of excessive pursuit for superior singing skills, diluting and violating the basis of music performance: singing and performing with naturally internal feelings.
By analyzing from music creation and music performance, the last chapter of this essay points out and criticizes the phenomena that beauty of poem and real emotions has been gradually weakened in music creation, theories and performance, emphasizing“the essence of music is poetry”but the essence of poetry is“emotion”. The issue on the importance of emotion in music is brought forward as the final conclusion.
Therefore, the esthetics theory and rule that“ancient people singing songs with delivering emotions should be carried out , and the viewpoint on music appreciation that“the essence of music is poetry”should be passed down with ages goes by.
然而,自工业革命以来,科学分工导致的各学科、各门类、各行业日益“精”化、“量”化、“技”化之风,幸也不幸地吹进了艺术乃至音乐领域。至当代中国:在理论方面,由于过多借鉴西方而难以突破已存在的“曲式”桎梏,而不够重视中国音乐自身的结构及内在的文化精髓;在创作方面,正逐渐遗失传统诗乐的凝练与雅致;在演唱方面,名为“专业化”实为“技术化”的、对“难”高与“美”声的极化追求便逐渐形成一种倾向,从而冲淡了从“情”出发的初衷……
本文终章试从理论、创作、演唱三方面分析,指出当代大氛围下乐中“诗”、“心”渐趋弱化的这一现象,强调“乐心在诗”而诗心在“情”,由此提出情感对音乐的重要性这一问题。
故此,我们更应将“古人唱歌兼唱情”的音乐审美准则贯彻到底,将“乐心在诗”的审美观念传承下去。
people, at most of time, always ignore emotion during their music performance and activities. In fact,music and poem, as two kinds of art, have their own origin from ancient time but there seems a close relationship between them so as seldom to be split. Skimming through our five thousand years’history, the specific style of poem has been run through almost all the melodies and songs from Qin Dynasty to contemporary time. Shaped and carved by the long-cumulated Chinese culture, poetry has already been deeply permeated into the“marrow”of our traditional music culture. Liu Xie, one of the famous art critics in the Northern and Southern Dynasties, expressed numerous esthetics theories regarding to Chinese traditional music in his work called Wen Xin Diao Long, especially in the chapters Yue Fu, Sheng Lu, Ming Shi and Shi Xu. In Yue Fu, Liu Xie demonstrated the relationship between music and poem. His viewpoint on esthetics that“the essence of music is poetry”embodies the same working track of both music and poem and the ability of music to express feelings. The author of this essay was inspired by those famous works, planning to draw a whole picture of the relationship between music and poem. The essay starts its point from the viewpoint that“the essence of music is poetry”and made analysis on relative music pieces. All the analysis is woking for proving Liu Xiu’s wise viewpoint on music and poem and his thought should be passed down by generations.
Since the Industrial revolution, however, the conception- dividing work scientificly was advocated rapidly. The tread that too much emphasis was applied on specific work division and skill presentation is spreading to all fields, including arts and music. : On the aspect of theories, the existed western frame and structure is difficult to be broken due to copy too much from western Music on the style of melody and skills and always pay less attention on the culture essence and self-structure of our own Chinese traditional music. On the aspect of music creating, parts of modern Chinese melody creation are on the edge of losing the condensation and elegance of Chinese traditional music. On the aspect of music performance, the so-called“professional”performance is almost merely a kind of excessive pursuit for superior singing skills, diluting and violating the basis of music performance: singing and performing with naturally internal feelings.
By analyzing from music creation and music performance, the last chapter of this essay points out and criticizes the phenomena that beauty of poem and real emotions has been gradually weakened in music creation, theories and performance, emphasizing“the essence of music is poetry”but the essence of poetry is“emotion”. The issue on the importance of emotion in music is brought forward as the final conclusion.
Therefore, the esthetics theory and rule that“ancient people singing songs with delivering emotions should be carried out , and the viewpoint on music appreciation that“the essence of music is poetry”should be passed down with ages goes by.
引文
1赵人毛亨(大毛公)、毛苌(小毛公)传《诗》,为“毛诗”,属古文学派,于汉末兴盛。《毛诗》于《诗》三百篇均有小序,而首篇《关雎》题下的小序后,另有一段较长文字,世称《诗大序》,又称《毛诗序》。似是一篇《毛诗》讲《诗经》的总序。
2唐代孔颖达所作《毛诗正义》之简称。
3章学诚《文史通义?诗话篇》。
4通“咏”。
5七始:指天、地、人,以及四时。
6《文心雕龙·乐府》。
7《吴越春秋》。
8《尚书·益稷》。
9“兮”本是语助词,后成为楚辞的主要形式。
10《文心雕龙·乐府》。
11《太古遗音伯牙心法》有记载。
12收编于清代唐彝铭《天闻阁琴谱》。
13《吕氏春秋·古乐篇》。
14皆出自《诗经·周颂》——参考《周初<大武>乐章用诗三首考》,作者:李山申少峰。
15夔:kuí,舜时乐官。戛:jiá,这里指长矛。鼗:táo,两旁缀灵活小耳的小鼓,有柄,执柄摇动时,两耳双面击鼓作响。俗称“拨浪鼓”。柷：zhù,古代打击乐器,像方匣子,用木头做成,奏乐开始时敲打。敔：yǔ,古代打击乐器,奏乐将终时,击之使演奏停止。镛:yōng,大钟,古代的一种乐器。跄跄:形容行走合乎礼节。
16《论语·述而》;《史记·孔子世家》。
17《文心雕龙·情采》。
18《文心雕龙·情采》。
20宋<1041-1099>,字德粲,郓州须城<今山东东平>人。
21《古今乐录》之王僧虔《大明三年宴乐伎录》记录有平、瑟、清各调常用乐器情况。
22《典论·论文》中曹丕言。
23唐《乐府杂录》。
24“拍”在突厥语中是“首”的意思。
26严天池《琴川汇谱序》。
31《中国创新教育》2006年第5期。
[1]刘勰.文心雕龙[M].湖南:乐麓书社,2004:1-106
[2]范文澜.文心雕龙注[M].北京:人民文学出版社,2001:32-54
[3]黄侃.文心雕龙札记[M].北京:中华书局,2006:52-68
[4]刘永济.文心雕龙校释[M].北京:中华书局,2007:156-175
[5]王利器.文心雕龙校证[M].上海:上海古籍出版社,1980:227-239
[6]周振甫.文心雕龙注释[M].北京:人民文学出版社,1981:55-84
[7]杨明照.文心雕龙校注拾遗[M].上海:上海古籍出版社,1982:96-102
[8]王运熙.文心雕龙探索[M].上海:上海古籍出版社,1987:108-126
[9]缪俊杰.文心雕龙美学[M].上海:文学艺术出版社,1987:2-24
[10]王元化.日本研究《文心雕龙》论文集[M].济南:齐鲁书社,1983:4-15
[11]陈四海.中国古代音乐史[M].北京:国际文化出版公司,1995:142-147
[12]杨荫浏.中国古代音乐史稿[M].北京:人民音乐出版社,1981:189
[13]汪毓和.中国近现代音乐史[M].北京:人民音乐出版社,1994:19-33
[14]郑祖襄.中国古代音乐史学概论[M].北京:人民音乐出版社,1998:146-148
[15]蔡仲德.中国音乐美学史[M].北京:人民音乐出版社,2004:576-579
[16]叶朗.中国美学史大纲[M].上海:上海人民出版社,1985:5-29
[17]侯外庐等.中国思想通史[M].长春:三联书店,1950:6-18
[18]王次炤.音乐美学[M].北京:高等教育出版社,2007:65-85
[19]王次炤.音乐美学新论[M].北京:中央音乐学院出版社,2003:86-98
[20]韩锺恩.音乐美学[M].上海:上海音乐学院出版社,2008:236-258
[21]韩锺恩,萧梅.音乐学理论研究卷[M].上海:上海音乐学院出版社,2005:35-40
[22]修海林,罗小平.音乐美学通论[M].上海:上海音乐出版社,1999:212-290
[23]修海林,李吉提.中国音乐的历史与审美[M].北京:中国人民大学出版社,1999:37-52
[24]李吉提.中国音乐结构分析概论[M].北京:中央音乐学院出版社,2004:240-248
[25]童庆炳.艺术创作与审美心理[M].天津:天津百花文艺出版社,1992:56-72
[26](奥)爱德华·汉斯立克,杨业治译.论音乐的美——音乐美学修改刍议[M].北京:北京人民音乐出版社,1980:1-15
[27](波)丽萨,于润阳译.音乐美学新稿[M].北京:人民音乐出版,1992:187-200
[28](波)丽萨,于润阳译.论音乐的特殊性[M].上海:上海文艺出版,1992:38-50
[29](宋)郭茂倩.乐府诗集[M].北京:中华书局,1980:26-51,57-60
[1]王元化.日本研究《文心雕龙》论文集[C].齐鲁书社,1983:78-99
[2]冯文慈.中国古代音乐文献目录概要[J].中央音乐学院学报,2000,78(3):87-95
[3]王军.如何看《文心雕龙》中的音乐审美[J].交响——西安音乐学院学报(季刊),2006,25(3):30-32
[4]唐辉.论文化乐学与文学用乐——以《文心雕龙?乐府》为中心[J].艺术百家,2006,88(2):111-113
[5]牧石.试论诗歌与音乐的关系[J].黄河之声,2007,272(24):41-45
[6]张雪丽.“诗”、“乐”、“画”艺术中对意境的追求及艺术间的相互融合之美[J].黄河之声,2009,288(2):109-111
[7]李荀华.诗乐舞三位一体的文化解读[J].中国文学研究,2009,127(2):39-41
[8]徐桦,赵毅.琴歌刍议[J].中国音乐,1999,56(3):7-8
[9]褚云霞.从古琴到琴歌[J].艺术百家,2003,73(3):132-134
[10]姚岚.琴乐艺术中琴歌之初探[J].中国音乐(季刊),2005,18(2):176-178
[11]詹桥玲.琴歌的历史与现状[J].中国音乐学(季刊),2005,81(4):99-101
[12]郭荣.古琴琴歌的艺术特征——从历史中看琴歌艺术[J].中国音乐(季刊),2008,29(1):176-180
[13]赵敏俐.音乐对先秦两汉诗歌形式的影响[A].中国诗歌与音乐关系研究——第一届与第二届“中国诗歌与音乐关系”学术研讨会论文集[C],2002:80-85
[14]赵敏俐.先秦两汉琴曲歌辞研究[J].文学遗产,2010,320(2):60-65
[15]傅雪漪.中国古典诗词的吟与唱[J].音乐研究,1994,73(3):37-43
[16]潘玲.近五年《文心雕龙》研究综述[J].广西民族大学学报(哲学社会科学版),2007,29(6):202-204
[17]刘艳.感乐忧时,呼“中和之响”[J].广西师范学院学报(哲学社会科学版),2004,25(2):28-32
[18]赵明正.刘勰《文心雕龙》的汉乐府研究[J].福建师范大学学报(哲学社会科学版),2005,134(5):51-54
[19]周仕慧.《乐府诗集?琴曲歌辞》研究[D].首都师范大学,2005:5-7
[20]刘蕊.中国传统弦歌研究[D].陕西师范大学,2006:29-35
[21]季玥.《春江花月夜》诗意与乐境之比较[D].南京师范大学,2003:13-21
[22]张宁.“乐心在诗”——谈音乐与诗歌联姻所创造的美[J].才智,2008,45(14):201-202
[23]张允文.对音乐文学专业的思考[J].中国音乐,1999,56(3):29-32
[24]刘汝佳.诗歌与音乐韵律的美学研究[D].黑龙江师范大学,2009:42-43
2唐代孔颖达所作《毛诗正义》之简称。
3章学诚《文史通义?诗话篇》。
4通“咏”。
5七始:指天、地、人,以及四时。
6《文心雕龙·乐府》。
7《吴越春秋》。
8《尚书·益稷》。
9“兮”本是语助词,后成为楚辞的主要形式。
10《文心雕龙·乐府》。
11《太古遗音伯牙心法》有记载。
12收编于清代唐彝铭《天闻阁琴谱》。
13《吕氏春秋·古乐篇》。
14皆出自《诗经·周颂》——参考《周初<大武>乐章用诗三首考》,作者:李山申少峰。
15夔:kuí,舜时乐官。戛:jiá,这里指长矛。鼗:táo,两旁缀灵活小耳的小鼓,有柄,执柄摇动时,两耳双面击鼓作响。俗称“拨浪鼓”。柷：zhù,古代打击乐器,像方匣子,用木头做成,奏乐开始时敲打。敔：yǔ,古代打击乐器,奏乐将终时,击之使演奏停止。镛:yōng,大钟,古代的一种乐器。跄跄:形容行走合乎礼节。
16《论语·述而》;《史记·孔子世家》。
17《文心雕龙·情采》。
18《文心雕龙·情采》。
20宋<1041-1099>,字德粲,郓州须城<今山东东平>人。
21《古今乐录》之王僧虔《大明三年宴乐伎录》记录有平、瑟、清各调常用乐器情况。
22《典论·论文》中曹丕言。
23唐《乐府杂录》。
24“拍”在突厥语中是“首”的意思。
26严天池《琴川汇谱序》。
31《中国创新教育》2006年第5期。
[1]刘勰.文心雕龙[M].湖南:乐麓书社,2004:1-106
[2]范文澜.文心雕龙注[M].北京:人民文学出版社,2001:32-54
[3]黄侃.文心雕龙札记[M].北京:中华书局,2006:52-68
[4]刘永济.文心雕龙校释[M].北京:中华书局,2007:156-175
[5]王利器.文心雕龙校证[M].上海:上海古籍出版社,1980:227-239
[6]周振甫.文心雕龙注释[M].北京:人民文学出版社,1981:55-84
[7]杨明照.文心雕龙校注拾遗[M].上海:上海古籍出版社,1982:96-102
[8]王运熙.文心雕龙探索[M].上海:上海古籍出版社,1987:108-126
[9]缪俊杰.文心雕龙美学[M].上海:文学艺术出版社,1987:2-24
[10]王元化.日本研究《文心雕龙》论文集[M].济南:齐鲁书社,1983:4-15
[11]陈四海.中国古代音乐史[M].北京:国际文化出版公司,1995:142-147
[12]杨荫浏.中国古代音乐史稿[M].北京:人民音乐出版社,1981:189
[13]汪毓和.中国近现代音乐史[M].北京:人民音乐出版社,1994:19-33
[14]郑祖襄.中国古代音乐史学概论[M].北京:人民音乐出版社,1998:146-148
[15]蔡仲德.中国音乐美学史[M].北京:人民音乐出版社,2004:576-579
[16]叶朗.中国美学史大纲[M].上海:上海人民出版社,1985:5-29
[17]侯外庐等.中国思想通史[M].长春:三联书店,1950:6-18
[18]王次炤.音乐美学[M].北京:高等教育出版社,2007:65-85
[19]王次炤.音乐美学新论[M].北京:中央音乐学院出版社,2003:86-98
[20]韩锺恩.音乐美学[M].上海:上海音乐学院出版社,2008:236-258
[21]韩锺恩,萧梅.音乐学理论研究卷[M].上海:上海音乐学院出版社,2005:35-40
[22]修海林,罗小平.音乐美学通论[M].上海:上海音乐出版社,1999:212-290
[23]修海林,李吉提.中国音乐的历史与审美[M].北京:中国人民大学出版社,1999:37-52
[24]李吉提.中国音乐结构分析概论[M].北京:中央音乐学院出版社,2004:240-248
[25]童庆炳.艺术创作与审美心理[M].天津:天津百花文艺出版社,1992:56-72
[26](奥)爱德华·汉斯立克,杨业治译.论音乐的美——音乐美学修改刍议[M].北京:北京人民音乐出版社,1980:1-15
[27](波)丽萨,于润阳译.音乐美学新稿[M].北京:人民音乐出版,1992:187-200
[28](波)丽萨,于润阳译.论音乐的特殊性[M].上海:上海文艺出版,1992:38-50
[29](宋)郭茂倩.乐府诗集[M].北京:中华书局,1980:26-51,57-60
[1]王元化.日本研究《文心雕龙》论文集[C].齐鲁书社,1983:78-99
[2]冯文慈.中国古代音乐文献目录概要[J].中央音乐学院学报,2000,78(3):87-95
[3]王军.如何看《文心雕龙》中的音乐审美[J].交响——西安音乐学院学报(季刊),2006,25(3):30-32
[4]唐辉.论文化乐学与文学用乐——以《文心雕龙?乐府》为中心[J].艺术百家,2006,88(2):111-113
[5]牧石.试论诗歌与音乐的关系[J].黄河之声,2007,272(24):41-45
[6]张雪丽.“诗”、“乐”、“画”艺术中对意境的追求及艺术间的相互融合之美[J].黄河之声,2009,288(2):109-111
[7]李荀华.诗乐舞三位一体的文化解读[J].中国文学研究,2009,127(2):39-41
[8]徐桦,赵毅.琴歌刍议[J].中国音乐,1999,56(3):7-8
[9]褚云霞.从古琴到琴歌[J].艺术百家,2003,73(3):132-134
[10]姚岚.琴乐艺术中琴歌之初探[J].中国音乐(季刊),2005,18(2):176-178
[11]詹桥玲.琴歌的历史与现状[J].中国音乐学(季刊),2005,81(4):99-101
[12]郭荣.古琴琴歌的艺术特征——从历史中看琴歌艺术[J].中国音乐(季刊),2008,29(1):176-180
[13]赵敏俐.音乐对先秦两汉诗歌形式的影响[A].中国诗歌与音乐关系研究——第一届与第二届“中国诗歌与音乐关系”学术研讨会论文集[C],2002:80-85
[14]赵敏俐.先秦两汉琴曲歌辞研究[J].文学遗产,2010,320(2):60-65
[15]傅雪漪.中国古典诗词的吟与唱[J].音乐研究,1994,73(3):37-43
[16]潘玲.近五年《文心雕龙》研究综述[J].广西民族大学学报(哲学社会科学版),2007,29(6):202-204
[17]刘艳.感乐忧时,呼“中和之响”[J].广西师范学院学报(哲学社会科学版),2004,25(2):28-32
[18]赵明正.刘勰《文心雕龙》的汉乐府研究[J].福建师范大学学报(哲学社会科学版),2005,134(5):51-54
[19]周仕慧.《乐府诗集?琴曲歌辞》研究[D].首都师范大学,2005:5-7
[20]刘蕊.中国传统弦歌研究[D].陕西师范大学,2006:29-35
[21]季玥.《春江花月夜》诗意与乐境之比较[D].南京师范大学,2003:13-21
[22]张宁.“乐心在诗”——谈音乐与诗歌联姻所创造的美[J].才智,2008,45(14):201-202
[23]张允文.对音乐文学专业的思考[J].中国音乐,1999,56(3):29-32
[24]刘汝佳.诗歌与音乐韵律的美学研究[D].黑龙江师范大学,2009:42-43