平行或異軌：嵇康〈聲無哀樂論〉的心聲關係

Correspondence or Separation: The Mind-Sound Relation in Ji Kang's "Sheng wu ai le lun"

周大興(Ta-Hsing Chow)

《鵝湖學誌》 41期 (2008/12) Pp. 25-62

https://doi.org/10.29653/LS.200812.0002

摘要

嵇康是魏晉時期竹林玄學的主要代表，也是一名優秀的音樂理論實踐者。在〈聲無哀樂論〉中，嵇康突破傳統〈樂論〉以來主張聲有哀樂的立場，認為「聲音以平和為體，而感物無常；心志以所俟為主，應反而發。」「心之與聲，明為二物」，二者乃是殊途異軌、不相經緯的。本文主要研究嵇康〈聲無哀樂論〉中心聲關係之要旨，透過「平行」與「異軌」的兩種心聲關係之分析，以闡明其思想在道家哲學中的重要地位。

關鍵字

嵇康 ； 心聲關係 ； 音樂美學

並列摘要

Ji Kang is undoubtedly the most important philosopher sod musician of the Wet-Jin period. In his essay ”Sheng wu ai le lun” (Sound has no grief or pleasure), Ji Kang objects the traditional Chinese viewpoint of music that sound has the quality of grief or pleasure in essential. Ji Kang insists that music or sound has no grief or pleasure in itself, since music and sound are clearly two kinds of separate things, the relation of them is not correspondent. The author of thin article offers a detail discussion of Ji Kang's essay in according with analyzing these two different understandings of mind-sound relationship, arguing that Ji Kang's interpretation of music played an important role in Chinese Taoistic philosophy.

並列關鍵字

Ji Kang ； Relation of Mind and Sound ； Aesthetics of Music

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