Ji Kang is an epoch-making figure in the history of ancient music aesthetics in China, and plays a very important role in the history of music in China. His Theory of Sound without Sorrow and Music embodies the essence, aesthetic feeling and social function of music, which is a rare historical treasure.
Keywords: Ji Kang; The theory of sound without sorrow and music; musical aesthetics
Since the end of the Eastern Han Dynasty, people have suffered years of war and political oppression. During the Wei and Jin Dynasties, people put this kind of pain in the landscape, which created naturalism and personality liberation in the Wei and Jin Dynasties. In addition, the introduction of Buddhism and the rise of metaphysics have impacted the traditional thoughts of Confucianism since the Han Dynasty, and Taoism, which advocates freedom, has also risen, forming a school of thought that competes with Confucianism. Ji Kang, the seven sages of bamboo forest, wrote The Theory of Sound Without Sorrow and Music, which is the most typical one.
Ji Kang (223? 263) The word Uncle Night is from Suxian County, Anhui Province. A famous pianist, music theorist and writer in the late Wei Dynasty. During the Wei and Jin Dynasties, he was a doctor in three provinces, and together with Ruan Ji and Wang Rong, he formed the famous? Seven sages of bamboo forest? . Politically oppose Sima's dictatorship, advocate? Non-Li? In the field of Qin studies, there are Chang Qing, Short Qing, Long Bian and Short Bian. His "Fu Qin" describes various expressive techniques of Qin Le's art and comments on the valuable Qin Yue. His Sound Without Sorrow is a highly speculative aesthetic treatise, which has an extremely important influence in the music history of China. In today's research field of music aesthetics, it also has very important value and function.
The full text of Sound Without Sorrow is about 7,000 words, which begins with a question from Qin Ke? Before I heard it, I said: the voice of governing the world is happy, and the voice of national subjugation is sad. ? The husband is in chaos, but the voice should respond, so the feeling of sadness is in the stone, and the picture of joy is in the orchestral string. When you hear Shao, you know the virtue of Yu Shun. Ji Zha knows the winds of many countries by listening to the strings. The sages don't doubt what has happened. This son thinks there is no sorrow or joy, so where can he live? ? [1] The article puts forward: Can voice express sadness and joy? How does sound correspond to people's feelings? The relationship between music and sharp problems such as political ups and downs, changing customs and traditions. Ji Kang focused on music to solve these problems? Name? 、? Real? Is the analysis clear? When the voice is dominated by good and evil, there is no sorrow or joy; Sorrow and joy should be followed by emotion, not sound. The name is gone, but it's still visible. ? [2] This means that the sound itself has its natural attributes and has nothing to do with people's joys and sorrows. The so-called sadness and joy means that people's inner feelings are felt first, and then expressed after enjoying music. As for how feelings are generated, it has nothing to do with the sound itself, that is, the sound does not have sadness or joy. Real? No sadness or joy? Name? . Ji Kang thinks that music can express sadness and joy, but it can't produce them. There is no causal relationship between them. In his words? Heart harmony, Ming are two different things? . Ji Kang also pointed out:? My husband's sadness is hidden in it, and it will be true when he meets harmony. Harmony has no image, and his sadness has a master. My husband is very sad because he has a master. Because there is no image harmony, all he feels is sadness. . [3] Ji Kang affirmed here? Sound? It can bring beauty to people, and at the same time points out that the aesthetic subject of music has sadness and joy first, and it will only be triggered by the inspiration of music. In fact, what people feel here is only their own inner sadness and joy. Ji Kang expounded the special phenomenon in music aesthetics, and put forward? The impermanence of voice? Has this view been confirmed? No sorrow, no joy? . ? Husband is different from vulgarity, singing and crying are different, so he uses it when there is a mistake, or laughs and cries, or listens to the song and is sad, but it is also sad. ,? Manage high, happy and sad? [4]。 Ji Kang uses these special phenomena to illustrate the special aesthetic psychological phenomenon of music. This is because different personal experiences and lifestyles, and even the differences in the psychological state and inner feelings of aesthetes of different ages, will form different or diametrically opposite aesthetic effects. This shows that Ji Kang realizes that there is no inevitable correspondence between sound and people's feelings of sadness and joy, but dynamic sound has a guiding role in aesthetic subjects, revealing cognitive factors such as life experience, artistic accomplishment and appreciation interest of aesthetic subjects. Western aestheticians believe that the object of art is the senses, and art understands the truth of life and the universe with the help of sensory intuition, and then expresses this truth with the help of objects in the sensory world. They also believe that the feeling of fast comfort has nothing to do with the object being felt, but with the feeling state of the self. These viewpoints are consistent with Ji Kang's aesthetic viewpoint of revealing special musical phenomena, that is, the feeling of sadness and joy about sound is actually the feeling state of aesthetic subject. Ji Kang also affirmed the aesthetic function of music? However, touching harmony is more human than wine. Wine is mainly bitter and sweet, and drunk people use it for pleasure. They regard joy and anger as sounds, and say that there is sorrow and joy, but they still can't see that joy and anger are the cause of wine, but they say that wine has joy and anger. [5]。 Ji Kang used wine as a metaphor for the essential characteristics of the existence mode of music ontology and the expression form of music. He also pointed out? Sound is more fierce than silence, commercial port, good and evil as the body, human feelings should be calm and exclusive. This is the voice of the body, which ends with the relaxation of illness, the relaxation of emotions and the reaction of emotions, and also ends with a calm ear. ? [6] This shows that Ji Kang saw the law of the sound's own movement and the characteristics of the aesthetic subject's auditory feeling, and the performance of music is only the explicit form of emotion? Emotional state, the aesthetic emotional experience of music is the integration of various psychological activities such as participation, understanding and imagination. Ji Kang admits that sound and the way it moves can make people? Calm down? 、? Dedicated? But the aesthetic activity of music is a special law of subject and object, and sound and heart reflect each other. Ji Kang admits that music can arouse people's emotions? Calm down? At the same time, he denied that voice expressed sadness and music. He insisted on the independent existence of sound itself, and also saw the special law of music aesthetics.
Baumgarden (17 14? 1762) thinks that in perceptual and intuitive understanding, we directly face the image of things, while in clear conceptual thinking, there is symbolic (literal) thinking. The digital concept of our direct object is more the image of concrete things, and the intuitive aesthetics of music is less facing things, negotiating with symbols and closer to emotions, because people's emotions are directly tied to concrete things and less tied to abstract things. In addition, the understanding of concepts permeates the content of things, while the objects connected with intuition and emotion are more expressed in the form of things. (Historical Papers) These scientific theories proved that Ji Kang's voice has nothing to do with people's joys and sorrows (emotions, emotions), and then Ji Kang proposed from the essence of music? Its stench spans between heaven and earth, and its good and evil, though chaotic, remain calm. ? Crows are neither good nor bad, and the harp is clumsy. ? However, heart and harmony are clearly two different things. If these two things are true, the intercessor will not look at the appearance, and the heart-slapper will not listen to the voice. ? [7] Ji Kang uses sound and shape as a metaphor. Sound and shape are both formal things, which can't represent people's true feelings. Blow the difference and achieve yourself? Then it reveals the essence of sound and the changing law of aesthetic subject activity from the rational point of view of social philosophy.
Ji Kang also suggested that what is the essence of musical beauty? And then what? He pointed out that peace is the core idea of his musical aesthetic emotion? Music has become more numerous, just like harmony? There is a natural harmony in the voice, but it is not tied to human feelings. Harmony is made of stone, and harmony is made of orchestral strings. ? [8] Ji Kang believes that the means of musical expression is harmony and unity, but what about music? The sum of nature? It has nothing to do with people's emotions. Ji Kang refers to the sound? And then what? Do not rule out the particularity of their own movement changes and auditory feelings? And then what? The essence of. ? And then what? It is not only the natural attribute of sound, but also the movement form of sound itself. Through the special law of music aesthetics, we can see Ji Kang's? No sorrow, no joy? With what? The sum of nature? There is no contradiction. The former reflects his understanding of the natural harmony and particularity of sound, while the latter reflects his pursuit of the peaceful spirit of music. Ji Kang didn't sneak in? Self-discipline? Trap. Pythagoras discussed the essence of music from the perspective of harmony between number and emotion. From the composition of musical tones (intervals), we can find the differences in the number of musical forms (length, severity, strength, etc.). ) is related to the pitch ratio. The harmony of music harmony and the harmony of the number relationship in aesthetic hearing are harmonious and unified, and a famous theory is put forward. Music is the harmonious unity of opposing factors, leading to the unity of diversity and disharmony? . [9] In music aesthetic practice, people sum it up according to their own aesthetic experience and some formal norms? Harmony? . These musical aesthetic categories with specific historical content are completely consistent with the aesthetic feeling (that is, sadness and joy) produced by the harmony between Ji Kang's sound noumenon movement and aesthetic hearing noumenon.
In music aesthetics, Ji Kang denied that he got emotion (sadness and joy) from sound, but he did not deny the existence of music. Change customs? He pointed out that social function? Jade and silk are disrespectful, and crying is not sad for the Lord. ? That is, jade and silk are the ceremony itself, just the content media used to express the ceremony, and so is music. Neither crying nor music expresses the characteristics of music itself, but the subjective differences reflected by the listeners. He thinks music? Change customs? The social function of music is not the continuation of its own characteristics, but alienation. ? The festival of speech, the degree of voice, the instrument of speech, the number of steps, advance and retreat must be integrated, and * * * is a whole, which is used by the monarch and ministers in the DPRK and by Shu Ren at home, while the ambition is less, long but not lazy, with solid heart, from good to good, and then face it with respect, hold it for a long time, and then turn it into reality. ? It shows Ji Kang's understanding of the way music exists. Ai Le? Elements of existence. That's right, is there? Guidance? Social function, social etiquette depends on music? Guidance? Function exerts a subtle influence on educating people, Ji Kang pointed out? However, music is the body and the heart is the master, so? Silent joy, people's parents? , so? Silent joy? Is the Voice of Peace its external form? Peace of mind? What is the essence of changing customs? Heart? That is, inner peace or not, isn't it changing customs? Sound? Is a stable world political? Peace? What people really need is to lead people's spirit to a harmonious aesthetic realm? The sum of nature? Finally, he took it? Yin and righteousness are concentric, elegance and righteousness, is it also a view? [10] not only emphasizes the aesthetic activity function of the inner emotion of the aesthetic subject, but also shows that he finally discusses the social function of music from the perspective of the aesthetic subject. Ji Kang's aesthetic view actually reflects the aesthete's own emotional experience and affirms the free and active aesthetic view. He made outstanding contributions to the development history of ancient musicology in China, and also represented a cultural tendency of paying more attention to the unique creation and aesthetic laws of art in Wei and Jin Dynasties. [ 1 1]
The musical aesthetic thought reflected in Sound Without Sorrow has never been discussed in theory. He boldly opposed completely ignoring the artistic function of music since the Han Dynasty, equating music simplicity with political views, and advocated abolishing music. Ritual punishment? The official music thought that develops synchronously. The aesthetic thought of "sound without sorrow and joy" represents that in the Wei and Jin Dynasties, the traditional feudal political utilitarian and practical aesthetic attitude turned to advocating individuality and nature, demanding respect for the unique laws of art itself, which is of great and far-reaching significance in the field of music aesthetics research in China today.
References:
[1] [2] [3] [4] [5] [6] [7] [8] [10] Dai: Ji Annotation People's Literature Publishing House 1962.
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[9] [1 1] Xiu Hailin and Luo Xiaoping: General Theory of Music Aesthetics, Shanghai Music Publishing House, 1999, p. 85? 186、 1 14? 13 1 page.