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“和”是中国音乐美学史上一个极为重要的理论范畴,纵观先秦的儒家思想发展历程,可以见得,在其所有有关音乐美学的论述中,不是直接表现出“和”的思想,就是间接透出“和”的观念。儒家对“和”有着深刻的认识与哲学(美学)剖析,从文化内核上肯定了主客体之间以和谐为美的最高境界。“和”作为中国所特有的一种文化意识,内容丰富、博大精深,尤其在音乐中更有着独特的理论蕴含。
“And ” are an extremely important theoretical category in the history of Chinese music and aesthetics. Looking at the development of pre-Qin Confucianism, it can be seen that in all its discourses on musical aesthetics, it does not directly show the thought of “and ” , Is the concept of indirect “ and ”. Confucianism has a profound understanding of philosophy and philosophy (aesthetics), and affirms the highest level of harmony between the subject and the object from the cultural core. As a kind of cultural consciousness unique to China, “” and “” are rich in content and broad in depth. They have a unique theoretical implication especially in music.