《溪山琴况》中的音乐审美思想
发布时间：2018-12-10 18:14
【摘要】： 《溪山琴况》是我国也是世界上最早将美学理论与演奏实践密切结 合起来加以论述的重要琴论专著之一。 针对《溪山琴况》的内容，笔者主要从音乐审美观和演奏美学思想 两个方面来分析它的音乐审美思想。《溪山琴况》的音乐审美观主要源 于儒、道，但又揉和儒、道，形成了自己独特的“淡和”的音乐审美观。以 此音乐审美观为指导，《溪山琴况》又提出了一整套的演奏美学思想，本 文主要从内、外两个方面来作了具体的分析。即在演奏中既要有外功 ——指、腕、臂、身的基础，更取决于内功——耳、心、气、神的修炼，，方能 使古琴演奏臻于至善至美的境地。 本文分上、下两篇。上篇为音乐审美现，由三章构成，即第一章儒 家音乐美学思想的体现；第二章道家音乐美学思想的体现；第三章《溪 山琴况》的音乐审美观；下篇为演奏美学思想，由两章构成，即第一章外 功和第二章内功。
[Abstract]:Xi Shan Qin is one of the most important monographs on piano theory in China and in the world. In view of the contents of the "Xi Shan State of the harp", The author analyzes his musical aesthetic thoughts mainly from the aspects of music aesthetics and performance aesthetics. The music aesthetics of "Xi Shan Qin State" mainly comes from Confucianism and Taoism. But with Confucianism and Taoism, formed their own unique "light and" music aesthetic. Guided by this musical aesthetic, Xishan Qin State puts forward a set of performing aesthetic thoughts, which are mainly analyzed from two aspects: inside and outside. That is to say, the basis of external work, that is, finger, wrist, arm, and body, depends more on the inner work the practice of ear, heart, qi, and God. In order to make the Guqin play the most beautiful situation. This paper is divided into two parts. The first chapter is composed of three chapters: the first chapter is the embodiment of Confucianism 'music aesthetics thought, the second chapter is the embodiment of Taoist music aesthetics thought; The second chapter is the aesthetic thought of performance, which consists of two chapters: the first chapter is the external work and the second chapter is the internal work.
【学位授予单位】：四川师范大学
【学位级别】：硕士
【学位授予年份】：2001
【分类号】：J601
本文编号：2371000
[Abstract]:Xi Shan Qin is one of the most important monographs on piano theory in China and in the world. In view of the contents of the "Xi Shan State of the harp", The author analyzes his musical aesthetic thoughts mainly from the aspects of music aesthetics and performance aesthetics. The music aesthetics of "Xi Shan Qin State" mainly comes from Confucianism and Taoism. But with Confucianism and Taoism, formed their own unique "light and" music aesthetic. Guided by this musical aesthetic, Xishan Qin State puts forward a set of performing aesthetic thoughts, which are mainly analyzed from two aspects: inside and outside. That is to say, the basis of external work, that is, finger, wrist, arm, and body, depends more on the inner work the practice of ear, heart, qi, and God. In order to make the Guqin play the most beautiful situation. This paper is divided into two parts. The first chapter is composed of three chapters: the first chapter is the embodiment of Confucianism 'music aesthetics thought, the second chapter is the embodiment of Taoist music aesthetics thought; The second chapter is the aesthetic thought of performance, which consists of two chapters: the first chapter is the external work and the second chapter is the internal work.
【学位授予单位】：四川师范大学
【学位级别】：硕士
【学位授予年份】：2001
【分类号】：J601
【引证文献】
相关硕士学位论文 前1条
1 周慧;《溪山琴况》“和淡清雅”探赜[D];上海师范大学;2011年
本文编号：2371000
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