《淮南子》的音乐审美主体论

发布时间：2018-01-06 04:02

本文关键词：《淮南子》的音乐审美主体论　出处：《南京艺术学院》2009年硕士论文　论文类型：学位论文

更多相关文章： 淮南子 音乐审美 审美主体 主体论

【摘要】： 《淮南子》是继承了老子之道家理论精髓的同时又融合了儒家理论思想之精华的理论巨作,被称为“集众家之流而归于道”。《淮南子》中对音乐审美主体性的论述,虽然并没有形成一定的理论体系而是分散于书中各个章节之中,却没有因此而影响其音乐理论所带来的指导作用和现实意义,如“师旷之耳”,“知音”,“中有本主以定清浊”,“不传之道”,“是故贵虚”等,这些对音乐审美过程中主体作用的认识和论述,为我们正确认识音乐和发掘音乐作品的意义以及音乐作品存在方式的主体感知维度方面提供了一个新的认识空间。《淮南子》对音乐审美主体性的论述,强调了审美主体在音乐审美过程中的作用和意义,丰富了传统音乐美学思想上对音乐认识的研究。
[Abstract]:Huainan Zi is a masterpiece that inherits the essence of Taoist theory of Laozi and combines the essence of Confucian theory at the same time. It is called "collecting the stream of family and attributed to Tao". The discourse on the aesthetic subjectivity of music in Huainan Zi, although not formed a certain theoretical system but scattered in each chapter of the book. However, it does not affect the guiding role and practical significance brought about by his music theory, such as "Shi Kuang's ear", "know the Sound", "there is the original owner to determine the clear and turbid", "do not preach the way", "is so expensive and empty" and so on. These to the music esthetic process in the main body function cognition and the elaboration. It provides a new understanding space for us to correctly understand music and explore the significance of music works as well as the subject perception dimension of the way of music works. "Huainan Zi" discusses the aesthetic subjectivity of music. It emphasizes the role and significance of aesthetic subject in the process of music aesthetics and enriches the study of music cognition in traditional music aesthetics.
【学位授予单位】：南京艺术学院
【学位级别】：硕士
【学位授予年份】：2009
【分类号】：J601

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