两千多年前,散见于《论语》中的孔子的音乐美学思想,以及《乐记》《吕氏春秋》等音乐学的代表性著作,已经相当详尽地论述了音乐美的本质、音乐的社会性等诸多问题。此后的《吕氏春秋》《声无哀乐论》《梦溪笔谈》《溪山琴况》《唱论》《乐府传声》等诸多文人著作都对中国传统音乐的美学、律学及创作理论做出了深入论述。谁都无法否认,中国传统音乐的理论积淀非常深厚,是人类文化艺术的宝贵遗产,至今有着惊人的活力。以歌唱为例,《乐记·师乙篇》关于歌唱的观点至 More than two thousand years ago, Confucius’ musical aesthetics thought scattered in The Analects, as well as the representative works of musicology such as “Yue Ji” and “Spring and Autumn Annals of Lu” had elaborated on the essence of music beauty and the society of music Sex and many other issues. Since then, many literary works such as “Spring and Autumn Annals of Lu”, “Ancestral Music”, “Meng Xi Bi Tan Tan”, “Kishan Music”, “Singing Theory” and “Yue Fu Biography” have all analyzed the Chinese traditional music aesthetics, law and creative theory Made in-depth discussion. No one can deny that the theory of Chinese traditional music has a very profound theoretical accumulation and is a valuable legacy of human culture and arts and has so far enjoyed a remarkable vitality. To sing as an example, “Music Kee B” on the point of view of singing