佛教音乐哲学研究

发布时间：2018-03-09 08:58

  本文选题：音乐本体　切入点：音乐现象　出处：《南京艺术学院》2016年博士论文　论文类型：学位论文

【摘要】：佛教作为一种系统、成熟、精微的教育体系和以觉悟智慧为核心的实践哲学,存有大量对音乐现象的哲学观照,广泛涉及音乐哲学美学基本问题的各个方面。在此意义上,佛教音乐哲学可视为一种原生的东方音乐哲学理论模型,其学理特色是解行相应、离边取中、以心为枢。佛教认为音乐的产生属缘起,音乐的存在方式为“根、尘、识”三缘和合或唯识所现,而音心关系不二,或者说一切音乐皆为自性音声;音乐的体性可归纳为行无常、法无我、寂无生、空无相、一实相五个方面;而佛教认识音乐有其特殊途径,这就是对音声的直观,包括四念处中的相关观法、耳根圆通法门、中道观和天台三观等多种观法。佛经中对音乐的描述,则涵盖了从人间到天上,从世间乐到佛、菩萨、净土音声等出世间乐的广阔图景。佛教对音乐功能的态度是禁乐与用乐的辩证统一,制戒禁乐禁的是放逸之心,但不是非乐,合理、合法的用乐也并不犯戒,而梵呗等佛教音声的主要用途包括课诵、供养、弘化、修行、治疗等方面。运用佛教唯识学可对音乐创作、表演、接受等行为心理进行十分精微的分析,其本质即阿赖耶识种子与现行之互生,这种分析可细化到一念心的瞬间维度,也可从业力因果的历史维度来考量。按佛教之小、大乘,佛教的音乐境界观可分为本真、直指、简和、空寂、自在等个体境界和慈、悲、喜、舍、平等等众生境界。正如佛学对近代西方哲学、心理学的深刻影响,佛教音乐哲学对当代音乐哲学美学研究有着重要的学理启示,这就是“理性的实践品格”、“存在的本质即关系”,而未来的学术应从人科冲突走向人科统合、全科研究,从学术的人生回归人生的学术。研究佛教音乐哲学、以佛学等东方哲学为研究方法和视角,是建立中国音乐哲学美学学术主体性的时代需求,并对中国音乐精神复兴有着重大的意义。
[Abstract]:As a Buddhist, mature, subtle educational system and the consciousness of wisdom as the core philosophy of practice, there are a lot of philosophical reflection of music phenomenon, various aspects involving a wide range of basic problems of philosophy of music aesthetics. In this sense, the Oriental philosophy of music theory model of Buddhist music philosophy can be regarded as a native, its academic is the solution for the corresponding characteristics, from the side, the heart is the pivot. The origin of Buddhism believes that music is a way of existence, music as the "root, dust, and knowledge" three edge or the sound of heart and consciousness, relationship or not, say that all music is self body of sound; music can be summarized as impermanent, without me, and no life, no phase, phase five aspects of a real understanding of Buddhism; and music has its special way, this is the voice of the intuitive, including four read method in view of the relevant law, the flexible door, middle view and rooftop views etc. A variety of views. Description of the Buddhist music, ranging from earth to heaven, Buddha from world music to Buddha, pure sound, a broad picture of world music. The Buddhist attitude to the function of music is a dialectical unity of music and music ban, making music is no abnegate heedlessness of the heart, but it is not reasonable, legitimate music, music is not affected, and the main purpose of the Buddhist Chanting sound including chanting, support, Philip, practice, treatment and so on. Using Buddhist Dharmalaksana of music creation, performance, behavior accept psychological analysis very subtle, its essence is alternate current and Alayavijnana seeds, this analysis can be refined to instant dimension mind, can also be employed to force the historical dimension of causal considerations. According to Mahayana Buddhism, Buddhism, the music realm can be divided into true, directed, and simple, empty, free individual realm and Ci, sad. Joy, sadness, flat Etc. realm. As beings of Buddhism on the profound influence of western modern philosophy, psychology, philosophy of Buddhist music have important enlightenment of the theory of aesthetics of contemporary philosophy of music, this is the "rational practice character", "the essence of existence is relation", and the academic department should conflict towards the future of integration, full Department of research, from the academic life regression life. Research on Buddhist music academic philosophy, research methods and perspectives to Buddhism and other Eastern philosophy, is the need to establish China philosophy of music aesthetic academic subjectivity of the times, and is of great significance for Chinese music spirit.

【学位授予单位】：南京艺术学院
【学位级别】：博士
【学位授予年份】：2016
【分类号】：J608
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本文编号：1587857