從聲、音、樂的觀點看嵇康的聲無哀樂論

To Review Chi Kang's ＂Music Without Grief And Joy＂ In The Viewpoint Of SHENG -YIN-YUEH

管力吾(Li-Wu Kuan)

《屏東教育大學學報-人文社會類》 31期 (2008/09) Pp. 197-213

摘要

〈聲無哀樂論〉文中之「聲」「音」「聲音」「音聲」，其意涵絕多指音樂。「和聲」義以現代音樂之大三和弦現象解之，可在解讀〈聲〉文中擺脫深奧玄理，賦予〈聲〉文新的活力，簡化一部分之閱讀溝通障礙， 或有助於對〈聲〉文之進一步理解。不論聲無哀樂或聲有哀樂，均無法自邏輯思辨和嚴謹的推理中，成立可以論證的定理；但經由諸多現象之觀察，待取得之樣本數到達一定程度時， 訴諸統計學之判讀， 聲有哀樂之結論應可成立。

關鍵字

嵇康 ； 聲無哀樂論 ； 和聲 ； 大三和弦

並列摘要

SHENG﹝聲﹞YIN﹝音﹞SHENGYIN﹝聲音﹞YINSHENG﹝音聲﹞, each one of four Chinese characters means music in＂ Music Without Grief And Goy＂ HER-SHENG﹝和聲, harmonic﹞ in Chi's essay would defined as ＂major triad＂ so that the whole essay be readable since obstacles in many paragraphs which concerned in profoundly Taoism's concept can be easily removed. The essay thus is activized with a new appearance. It seems impossible to develop a hypothesis, from strictly logical process, in conclude that music with or without grief and joy. Viewing the music reactions on the other hand, we may expect that enough statistical samples could tell the truth that music contained within grief and joy.

並列關鍵字

Chi Kang ； Music without Grief and Joy ； Harmonic ； Major triad