“和”场域中中国传统音乐的美学价值与时代观照
|
摘要
在中国传统音乐中,形式上的中正平和、内容上的乐而不淫、哀而不伤、怨而不怒,无不体现着"中和"之美,对这种美学价值的追求与创造是传统音乐的主要目标,并对后世音乐的发展和创新起着重要的指导作用。文章以"和"为分析场域,在已有研究成果的基础上,首先对"和"之精要与传统音乐进行了解析,然后分析了中国传统音乐中"和"的美学思想与价值,最后从多个层面给出了"和"场域中中国传统音乐的时代观照。旨在通过本文的工作,重新确认中国传统音乐的价值方位,对当今的音乐研究与表现提供可供借鉴的信息。
In Chinese traditional music forms,in peace,on the content of the joyous but not indecent,mournful but not distressing,resentment but no anger,embodies the "and"beauty,the aesthetic value of the pursuit and creation is the main target of traditional music,and plays an important role in guiding the development and innovation of the music of later ages the. Taking"and"for the field analysis,based on the existing research results,first to"and"Essentials and traditional music analysis,and then analyzes the aesthetic thought and the value Chinese traditional music"and"from many aspects,finally gives the"era of contemplation and"China traditional music field in the field of. This paper aims to work,to confirm the value range Chinese traditional music,can be used for reference for the study and performance of music information.
In Chinese traditional music forms,in peace,on the content of the joyous but not indecent,mournful but not distressing,resentment but no anger,embodies the "and"beauty,the aesthetic value of the pursuit and creation is the main target of traditional music,and plays an important role in guiding the development and innovation of the music of later ages the. Taking"and"for the field analysis,based on the existing research results,first to"and"Essentials and traditional music analysis,and then analyzes the aesthetic thought and the value Chinese traditional music"and"from many aspects,finally gives the"era of contemplation and"China traditional music field in the field of. This paper aims to work,to confirm the value range Chinese traditional music,can be used for reference for the study and performance of music information.
引文
[1]郭沫若.甲骨文字研究[M].北京:大东书局,1934:91.
[2]巩武天.中国古代音乐的美学思想与中国传统音乐的美学特征[J].广西大学学报:哲学社会科学版,2010(4):100-102.
[3]张熙莹.中国传统音乐美学中的“社会和谐”理念[J].大众文艺,2010(13):12-14.
[4]褚晓冬.中国传统音乐美学中的“社会和谐”理念[J].艺术百家,2011(2):220-221.
[5]颜彬.“和”文化之于中国传统音乐——“和”文化及其在音乐生成形态中的体现[J].南昌高专学报,2011(3):50-52.
[6]龚妮丽.试论中国传统音乐的美学特征[J].贵州大学学报,2006(4):38-40.
[7]李石根.我国民族音乐的美学传统——“和”[J].交响——西安音乐学院学报,2000(3):5-7.
[8]钦媛.中国传统音乐“天人合一”的美学思想探析[J].赤峰学院学报:汉文哲学社会科学版,2012(7):200-201.
[2]巩武天.中国古代音乐的美学思想与中国传统音乐的美学特征[J].广西大学学报:哲学社会科学版,2010(4):100-102.
[3]张熙莹.中国传统音乐美学中的“社会和谐”理念[J].大众文艺,2010(13):12-14.
[4]褚晓冬.中国传统音乐美学中的“社会和谐”理念[J].艺术百家,2011(2):220-221.
[5]颜彬.“和”文化之于中国传统音乐——“和”文化及其在音乐生成形态中的体现[J].南昌高专学报,2011(3):50-52.
[6]龚妮丽.试论中国传统音乐的美学特征[J].贵州大学学报,2006(4):38-40.
[7]李石根.我国民族音乐的美学传统——“和”[J].交响——西安音乐学院学报,2000(3):5-7.
[8]钦媛.中国传统音乐“天人合一”的美学思想探析[J].赤峰学院学报:汉文哲学社会科学版,2012(7):200-201.