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孔子作为春秋时期的思想家、政治家和礼乐教育家,为春秋时期的音乐发展乃至整个中国音乐的发展都作出了重要贡献,但是孔子在其音乐美学思想和其具体音乐行为这两方面存在自相矛盾之处。在其音乐美学思想方面的矛盾主要体现在施乐等级观念和乐教等级观念上;在具体音乐行为中的矛盾体现在对待“郑风”和“郑声”的态度上。文章分别从客观和主观两方面来论述孔子音乐美学思想以及其具体音乐行为中的矛盾,并认为矛盾的存在是因为孔子具有一定的阶级局限性和时代局限性。而本文的目的并非想通过这些矛盾来否定孔子,只是想通过对孔子音乐美学思想以及具体音乐行为中的矛盾的正视,来更全面地了解孔子,使今人对他的评价更接近客观。
Confucius, as a thinker, politician and ritual educator in the Spring and Autumn Period, made important contributions to the development of music in the Spring and Autumn Period and the development of the entire Chinese music. However, Confucius had two major roles in his musical aesthetics and his specific musical behaviors Contradictory place. The contradictions in his music aesthetics thought are mainly reflected in the concept of Xerox level and the concept of music education level. The contradictions in the concrete music behavior are reflected in the attitude towards “Zheng Feng” and “Zheng Sheng”. The article discusses the contradictions in Confucius’ thought of music aesthetics and its concrete music behavior both objectively and subjectively, and thinks that the existence of contradiction is due to the limitation of Confucian class and the limitations of the times. However, the purpose of this article is not to reject Confucius through these contradictions, but to understand Confucius more comprehensively by confronting Confucius’ idea of music aesthetics and the contradiction in concrete music behavior, so as to make people’s evaluation of him more objectively.