阮籍〈樂論〉與嵇康〈聲無哀樂論〉移風易俗觀之比較

The Comparison of Transforming Social Tradition between Xun-zi's "Music Theory" and Ji-kang's "Tone without Sadness and Happiness"

葉錦霞(Chin-Hsia Yeh)

《元培學報》 12期 (2005/12) Pp. 113-124

https://doi.org/10.30171/JYUST.200512.0009

摘要

自周朝禮樂制度建立後，音樂即被視為一種教化工具，實用價值高於審美價值。《樂記》提出的平和的音樂美感能感染人心，故而達到「移風易俗」的目的。至魏晉時期，阮籍與嵇康承繼《樂記》的音樂觀點，並受到老莊影響，除了對樂的本體進行論述外，對音樂能移風易俗的觀點亦有進一步的闡述。
本篇論文將〈樂論〉與〈聲無哀樂論〉二篇作品進行比較分析，探討阮籍與嵇康樂教觀的社會意義，並由此觀察這時期所構築出音樂審美的世界。

關鍵字

阮籍 ； 嵇康 ； 樂論 ； 聲無哀樂論 ； 移風易俗

並列摘要

Since the system of etiquette and music was established, music has been considered to be an instrument for teaching, and the practical value has surpassed the appreciation of the beauty. The Music Book submits that the harmonious tone's musical aesthetic feeling can affect human heart and achieve the goal of transforming social traditions. Until the period of Wei-Jin dynasty, Xun-zi and Ji-kang inherited The Music Book concept and was influenced by Lao-Zhuang. Besides discussing the identity of music, it has further explained the viewpoint of music can and also transformed social traditions.
This thesis will contrast and analyze two works-Music Theory and Tone without Sadness and Happiness-and discuss social meaning of Xun-zi and Ji-kang's music teaching concept. By the mention above, we can observe that the world of musical aesthetic was established during the period of that age.

並列關鍵字

Ji Kang ； Xun'zi ； musical aesthetics ； tone without sadness or happiness ； transforming social tradition