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大千世界,所有的生命存在无不以呼吸的循环为基础。没有呼吸的物质是没有生命的物质,同样,没有呼吸的音乐就是没有生命的音乐。呼吸之于音乐的关系,它虽然不能涵盖音乐表现的全部,但它无疑是一个极为重要的方面。我国古人早在《吕氏春秋》一书中,在对音乐起源问题的探测时,就作出过如下定义:“音乐所由来者远矣!生于度量,本于太一。太一出两仪,两仪出阴阳,阴阳变化,一上一下,合而成章。”这里的“阴阳变化,一上一下”,就是指事物的一种运动方式,之于音乐而言,即指音乐是在阴阳相摩,天地相荡的呼吸运动过程中产生的。的确,一切生命组织只有形成了互动的呼吸循环,才可能呈现万物葱荣的勃勃生机,构成自然的平衡与协调,这与中国传统美学观“乐与天通”的理解正好形成了同构。
In the world, all life is based on the cycle of breathing. The non-breathing matter is lifeless matter. Likewise, the non-breathing music is lifeless music. Breathe in the relationship between music, although it can not cover all the musical performance, but it is undoubtedly an extremely important aspect. As early as in “Lu’s Spring and Autumn Annals”, our ancients made the following definition when exploring the question of the origin of music: “The origin of the music is far from being measured, Instrument out of yin and yang, yin and yang changes, one last look, together into a chapter. ”Here“ changes in the yin and yang, a look ”refers to a thing of a sport, in terms of music, that music is in yin and yang phase friction , Heaven and earth during the respiratory movement generated. Indeed, only through the formation of an interactive breathing cycle can all living organizations be able to present the vitality of all-enveloping nature and constitute a natural balance and coordination. This is exactly the same as the understanding of the concept of “music and heaven through nature” in Chinese traditional aesthetics.