Interpretation of Yuefu Ancient Poems explains the creative process of Shui Cao Xian. "It took three years for Lian to learn to play the piano. As for the spiritual silence.
Lonely, single-minded, failed to get. Cheng Lian said,' My knowledge can't change people's feelings. My teacher is Fang Zichun from the East China Sea'. be
From there to Penglai Mountain, Liu said, "I will meet my teacher" and rowed away for ten days. Boya is sad and has four necks.
Look, but I can smell the sea gurgling, the mountains hazy, and the birds singing sadly. Look up at the sky and sigh:' Miss Wang will touch my feelings!' This is a song dedicated to Cao Cao.
If you die in Dongting, you will save yourself, and the ship will never return to the fairy. I moved to Penglai Mountain and hurt my maid-in-waiting. Boya has become a wonderful place in the world.
Hands. "
"Empathy" means changing mood and transforming spirit. Only on the basis of the whole personality transformation can artistic creation be completed, which depends entirely on skills.
It is a profound insight that learning is still impossible.
Tang Lang Shiyuan's "Listen and Blow the Sheng Next Door" says: "The phoenix blows like a chardonnay. I wonder whose house is outside the wall. The heavy door is locked and nowhere to be found.
"This is how ordinary people feel about Tao Qian tree flowers. The image of subjective imagination is often superficial, so "bosom friend" should deeply grasp the music structure.
And the hidden meaning in the melody. The composer didn't simulate the sound of running water and the shape of the mountain when aiming at the running water in the mountains.
Form, but to create a melody to express the feelings and profound thoughts aroused by mountains and rivers. Therefore, we also feel the art of music.
Will make our mood change, be transformed and purified, deepen and sublimate.
Tang Changjian's "On the Musical Instrument Store" says: "The river raises a jade piano, with a clear string, seven strings everywhere and wooden shadows everywhere. Can make Jiang yue
White, make the river deep, just know the phoenix tree branches, can emblem gold. "This is the gradual deepening and purity of the listener's conscious experience. rise high
"Listening to the Pipa at Night" says: "Graceful young women don't worry, pipa walks in the small building at night. Ripping the river, the moon is white, and the blue clouds are four mountains and autumn!
"This is also the feeling we get from listening to music, which increases the depth of our feelings about things. Just like we do in scientific research.
Excessive abstract thinking leaves the surface of nature, goes deep into the core of nature, and grasps the most inherent mathematical laws and movements of natural phenomena.
In this way, music leads us to grasp the most profound rhythm ups and downs in the image of countless lives in the world. Zhuangzi said, "There is no sound.
Now, how can I smell it alone? "Therefore, the use of music accompaniment in traditional Chinese opera can portray the plot and action more deeply. Greek tragedy was also born in music.
That's right.
Music evokes a natural image in our hearts, thus enriching the emotional content of music. However, painters and poets are in nature
The understanding of the musical field in the phenomenon increases the depth of the natural image. Zong Bing, a painter of the Six Dynasties, loved mountains and rivers. When he came back, he named what he saw.
There is a mountain painted on the wall. "Sit on it." He said, "Play the piano and do exercises. I want the mountains to ring." "Fan Landscape Painting" in Tang Shenquan Period
The song says: "The mountains are majestic, the water is clear, the sweat is sweating, and the vegetation lives in the gods. Suddenly there was something in the air and there was a sound inside.
As long as you look at your hometown, you can't dream around the mountains and rivers. "I can dream of mountains and rivers, because there is something in the air, and there is a sound in it."
And this is due to "vegetation inhabiting god", which is the realm of music.
This is China's ancient musical thought and image.
Music aesthetic thought
The Middle Ages was a period of great change in the history of China, and it was also a period of philosophical liberation, active thinking, numerous problems and fruitful results since the pre-Qin period. Since the Eastern Han Dynasty, the manor economy has been consolidated and promoted day by day, and the gentry and the landlord class have occupied this historical stage, and began to quote Taoism to explain the Confucian classic-Zhouyi, which broke the Confucian rule since the Han Dynasty. Therefore, the "metaphysics" in Wei and Jin dynasties followed the development of the times and broke through the consciousness of the rule of Han and Confucianism for hundreds of years, which was a new historical period to re-find and establish feudal theoretical thinking.
1 Ji Kang's "Sound without Sorrow"
During this period, the musical aesthetic thoughts of aristocratic children represented by Ruan Ji and Ji Kang were particularly important, and Ji Kang's "On Sound without Sorrow and Music" represented the music view and outlook on life of the landlord class.
Ji Kang (223-262), a famous thinker, writer and musician in the late Wei Dynasty, was one of the representatives of metaphysics in Wei and Jin Dynasties. After gaining the leadership of China, Cao Wei Group married the Wei Imperial Family as a fellow villager, became the husband of Changle Pavilion, moved to doctors and became a doctor in China. When Sima Group usurped the leadership of the Central Group, he formed the "Seven Sages of Bamboo Forest" with Ruan Ji, Xiang Embroidery, Dan Tao, Liu Ling, Ruan Xian and Wang Rong, and took refuge in Yang Shan, Hebei Province, where Cao Wei's imperial clan lived, and opposed Sima Group. Among the "Seven Sages of Bamboo Forest", Ji Kang hit Sima Group particularly hard. He opposed Sima Group not only through light thoughts, but also through his sharp words and deeds. Sima flaunted that he wanted to rule the world with filial piety, so he mourned drinking and eating meat; Sima Group seized power by force and wanted to abdicate and seize power. However, in the book "Breaking Up with the Mountain Residence", he mentioned that "it is not Tang Wu, it is thin Kong Zhou"; Sima Shi wanted to attract celebrities, so he took refuge in Hedong. Because Dan Tao (one of the seven sages of bamboo forest) recommended him to Sima Shi Group as a symbol of his break with Sima Shi Group, he broke with him and was killed by Sima Shi Group.
Ji Kang is not only a thinker, a writer, but also a musician, and he plays the piano very well. His Guangling San occupies an important position in the piano history of China.
The Theory of Sound without Sorrow and Music is a musical aesthetic work. The full text is written in the form of a dialogue between "Qin Ke" and "Master Dongye".
In this article, Ji Kang first put forward the basic viewpoint of "sound without sorrow and joy". In other words, music is an objective voice, and funeral music is the feeling people feel after being touched. There is no causal relationship between the two. Ji Kang believes that music is a natural sound, which does not contain the feelings of "sadness" and "joy", so music cannot make listeners feel sad and happy. In his words, "five colors have good and evil, five tones have good and evil, and this thing is natural." So he came to the conclusion that "the heart and the sound are two different things", that is to say, the natural sound can only be divided into good and evil, that is, good and bad, and has nothing to do with the feelings of "sadness" and "joy".
Harmony is of great significance and influence in China's ancient music aesthetics. In Confucian music aesthetics, "harmony" is regarded as an important criterion for evaluating music. "Harmony" was originally the name of a musical instrument, which combined some high and low pipes to make sound. Similar to sheng, it has the meaning of unity and difference. Ji Kang believes that the essence of music is "harmony". This "harmony" is the sum of size, simplicity, high efficiency, good and evil (that is, beauty and ugliness), that is, the unity of music form, means of expression and beauty. Its function to the audience can only be to make people feel excited and quiet, concentrate and disperse. The change of music, beauty and ugliness have nothing to do with people's emotional pleasure. That is, "the voice should be dominated by good and evil, without sorrow and joy; Sorrow and joy should follow the feelings, not the sound. "
Ji Kang thinks that people's emotion is the reflection of people's "heart" influenced by external objective things, specifically, it is the result of political influence (that is, "sadness and joy are based on things, first rooted in the heart, but harmony is the obvious." )。 He believes that there are sadness and joy in people's hearts first, and music ("harmony") plays the role of induction and media here, making it manifest. He disagreed with the view that "the governance of chaos lies in politics, but the voice should respond" and thought that music could not reflect the changes of social life. Therefore, he proposed that "the works of sound and sound have a bad smell between heaven and earth." Its good and its bad, although chaotic, calm and unchanged. "I believe that people's existing feelings are different, and their understanding and feelings about music will vary from person to person, which means that" the wife's feelings are different, and every teacher has his own understanding, so he will have his own ideas. Therefore, Ji Kang believes that although music can make people love to listen, it can't play an educational role of "changing customs", that is, "taking music as the body and taking the heart as the mainstay"; When the eight tones are harmonious, what people like is always joy, and changing customs is not here. "
Ji Kang's view that "sadness and happiness are based on things and self-expression" is not original. From the point of view that music is the objective material world and its movement changes, it comes from the music view of the pre-Qin "Yin-Yang and Five Elements" school, but some people such as Zhou actually hold the view that there is no sorrow or joy. There is a story in Huan Tan's New Theory of Qindao in the Han Dynasty that a musician Yong Men Zhou played the piano for Meng Changjun in the Warring States Period, which can be used as a footnote for Ji Kang's last paragraph, further explaining that the theory of "there is no sorrow and music" has existed since ancient times, but this theory was determined and developed by Ji Kang.
Ji Kang also affirmed the position of ordinary people in music life and put forward the theory that "workers sing their own things and musicians dance their own merits", which is opposite to the theory that the ruling class monopolized music when the king ascended the throne. He believed that folk music should be affirmed and put forward the theory that "Zheng Sheng is the best voice". But he thinks that folk music should be controlled and based on harmony. It shows that he still stands on the position of Confucianism, which is related to his class status and has its class and historical limitations.
On the above-mentioned issues, Ji Kang boldly opposed the music concept that equated music simplicity with politics and even played a divination role since the Han Dynasty, and completely ignored the artistry of music, which was of great progressive significance. However, Ji Kang's great contribution mainly lies in his proposition that "there is no sorrow and joy in sound", which provides a theoretical basis for protecting people's progressive music. His main contribution lies in that when he repeatedly demonstrated his views, he touched on some contradictions contained in the music art itself, namely: the relationship between music creation, performance and appreciation; The relationship between emotional expression diversity and musical expression diversity; The relationship between music appreciation and conditional association has never been touched in Confucian music thought. His exposition in this respect greatly transcends the previous music aesthetics, focusing on the relationship between music and morality and politics, and goes deep into the art of music. Although he repeatedly said that "Lao Zi and Zhuang Zhou are my teachers", he did not criticize music as "deaf with five tones" like Lao Zi and Zhuangzi, nor did he advocate "not addicted to vocal music" like Lao Zi and Zhuangzi. His thoughts did not completely surpass the mantle of Confucianism, but he opposed the rulers to use Confucianism to rule. This is the ambivalence of the "scholar" class in the transitional period of the formation and development of China feudal society in Wei and Jin Dynasties. This psychological formation laid the ideological and theoretical foundation for the prosperity of feudal society in China in Sui and Tang Dynasties.
In the early stage of China's ancient music aesthetics, it was mainly the speeches of politicians and thinkers, and then it gradually developed into the speeches and thoughts of musicians. Ji Kang's musical aesthetic thought can be said to be an outstanding representative of studying the relationship between music and external and internal relations (called "self-discipline theory" and "heteronomy theory" abroad). In addition to Sound Without Sorrow, he also wrote Fu Qin, which is a descriptive literary work, but it still reflects his aesthetic thoughts in many aspects.
The theory of sound without sorrow and music holds that music cannot cause people's emotional changes. The reason why people feel happy or sad from music is only because people already have the arguments of happiness or sadness in their minds. This argument ignores and obliterates the sociality of music, and even ignores the subjective dynamic role of people, so it is one-sided and mechanical.
In a word, Ji Kang's music practice and music aesthetic thought were undoubtedly progressive and positive in the rising period of China feudal society. The theory of sound without sorrow and music also laid a good foundation for later musicians to study the laws and characteristics of music.
2 Bai Juyi's musical aesthetic thought
The Tang Dynasty in China was the heyday of the development of feudal society, and Bai Juyi's music thought was particularly prominent in music aesthetics.
Bai Juyi (772-846) was born in a small bureaucratic family in Xinhe County, Henan Province. He began to learn to write poetry at the age of five or six, and at the age of eight or nine, he understood phonology and took refuge in wuyue. When I was sixteen (AD 787), I came to Chang 'an from Jiangnan. Because of his poem "Wildfire never devours them, they are tall again in the spring breeze", he attracted the attention of celebrities in Kyoto. At the age of 29, he entered the official career and served as a bachelor of Hanlin and Zuo Shiyi. At that time, the Li and Tang dynasties declined, the powerful were in power, and the people lived in poverty. He was demoted to Jiangzhou Sima in 8 15 A.D. for commenting on state affairs many times. Later, he went to Zhongzhou, Hangzhou and Suzhou to serve as a secretariat, assistant minister of punishments, Henan Yin, guest secretary, Prince Shaofu and so on. After the official reached the third grade, he stopped speaking actively for state affairs and lived in seclusion. Tang Huichang died in the sixth year (AD 846) at the age of 75.
Bai Juyi is a poet, but he is also a famous music critic. He himself once said, "Both Yuan and Bai Juyi are happy to watch dances and listen to songs." In fact, he didn't just "know what he was willing to do". His music criticism and music aesthetics are of great significance in the history of ancient music aesthetics in China.
Bai Juyi believes that music is a reflection of real politics. In Chapter 64 of Zelin, he said: "Music teachers and students are interested in sound, sound is born of emotion, and emotion is related to politics". In "Tshering Sixty-nine", he said: "If a great mortal feels useless, he must be moved by emotion, and then sigh and become a poem." In other words, the production of songs (music) is a result of "things" stimulating people's emotions. "Event" is a social event related to the people of the country, and it is also a concrete embodiment of real politics. If we associate this "thing" with what he said in "Poetry for Tang Sheng", we can know that he advocates that songs should write about people's sufferings and accuse the political ills of reality. He not only advocated it, but also did it himself. For example, in his poem "Hua", he used the traditional Si Binqing to be abandoned, and instead used Hua to insinuate that the king used eunuchs again, ignoring the blunt words of loyal ministers and thinking that the key was to improve politics. "Sixty-four Chapters of Chelin" said: "If politics is covered, then the feelings are harmonious, and the sound of music is harmonious." He sharply criticized those ultra-retro factions who advocated canceling folk music and restoring "ancient music and ancient songs": "I think those who canceled the voice of Zheng Wei and restored the original voice are concerned about their politics and their feelings. I don't care about changing, it's easy to change. "
Bai Juyi believes that folk songs and ballads show people's thoughts, wills, demands, wishes and people's lives, and represent people's voices. Therefore, he once proposed to listen to the people's voices, understand their sufferings, and listen to the opinions of the lower classes in order to improve politics. However, he disapproved of the supreme ruler headed by Emperor Xuanzong of the Tang Dynasty, who tried his best to engage in folk music regardless of the sufferings of the people. He said, "So, I think the harmony between God and the common customs depends on good governance and the change of voice, which is extremely loud." He said in "Celin 62": "The country has inherited the disadvantages of Qi, Liang, Chen and Sui, but it has not been lost, so the ceremony is less killing and the joy is less extravagant." Therefore, he thinks it is necessary to "restrain Zheng Sheng less" and let the music "merge without flowing". On this issue, he emphasized improving politics, opposing the fallacy of the ultra-retro school and the excessive music enjoyment of the ruling class, which was in line with the interests of the people at that time and was also conducive to the development of folk music to a certain extent.
As we mentioned earlier, since the Zhou Dynasty, China has established a system of "collecting folk songs". Bai Juyi supported the rulers to establish a collection system. It is believed that the king can understand the people's feelings through "wind poems" in order to achieve the political goal of "going down and going up". Therefore, he hoped that the rulers of Li Tang would restore this system of "collecting poems", so he wrote "collecting poems":
Poetry collectors, they collect poems and listen to songs to guide people's speech.
If the speaker is innocent, warn him, and filth will lead him up and down. When the Qin Dynasty was destroyed in Zhou Dynasty, the Sui Dynasty was promoted, and the poets of the Ten Dynasties did not say anything.
The temples in the suburbs praise your beauty, but they don't flatter you with flowery words. To make a statement, a thousand words, a thousand chapters.
It's not just poking around, and it's getting ridiculous in court. The minister's ferry is redundant, and the drum is hanging high.
A person is always silent, and the best thing is to flatter himself. Xi Lang's greetings are well-intentioned, while Chun Guan's performance is just auspicious.
Your ears only hear what is said in class, but your eyes can't see what happens in front of your door. Corrupt officials have no fear of harming the people, while treacherous officials and hidden officials have no fear.
Don't you see: in the last years of Hu Hai, the princes were good for you and bad for you? Jun Xi Jun Xi is willing to listen to this statement:
To open an urn to hide human feelings, first seek irony from songs and poems.
("Poetry Collection, Volume IV")
What a bold statement, what a profound revelation! As early as 1000 years ago, Bai Juyi put forward the attitude of "the speaker is innocent, and the listener has a warning", which is really commendable for folk songs, ballads and folk voices.
Bai Juyi also believes that musical instruments are only pronunciation tools, and music is the concrete expression of musical thinking. He opposed the retro thinking of the ultra-retro school, saying, "It's like saying that this music (elegant music) is a divine comedy, and all animals dance with the wind, so the difference is that it will suit Chu." In other words, taking this road to change reality is just like a car going north to Chu in the south, which will never be realized.
Bai Juyi also believes that "sound" has a strong appeal to people. He said in "Nine Books with the Same Yuan": "Those who touch people's hearts don't care about feelings, don't talk, don't care about sound, don't care about meaning". He believes that "sound" can play the role of "reconciling people's hearts and enriching customs" and is also the fundamental purpose of "having fun". Therefore, he attaches great importance to the ideological content and feelings of his works, and believes that "musicians should take Yi Naoko's entrustment as their heart, take neutralization and filial piety as their virtue, take the sonorous laws and regulations as their ornaments, and use spectrum to solve diseases as their writing." Ornaments can be gained and lost, and heart and morality can't be lost. "On this issue, he inherited the Confucian view of attaching importance to the role of music education and the class standard of works. Therefore, in his poem Ask Yang Qiong, which comments on the art of singing, he put forward that "ancient people sang with love songs, while modern people sang with sound" and clearly put forward the principles of "sound" and "emotion" in the art of singing, which was of practical significance to the popular formalism of pursuing the beauty of sound in isolation from the specific content of the work at that time.
Due to the historical era, Bai Juyi's aesthetic view of music also has certain limitations. All his views are based on maintaining and consolidating the feudal system, so he thinks that the degree of consolidation of rule has a lot to do with whether he can understand the people's feelings. He said: "The sage's reasoning also pays attention to considering people's words and observing human feelings, and acting in politics is also suitable for being a teacher." Therefore, he put forward the slogan of "the lyrics are in harmony with things" and "only singing makes people sick", the purpose of which is nothing more than to let rulers rule better, and to establish the so-called "those who abolish politics repair it, those who lack politics make it up", so as to achieve the goal of "those who care about the people are happy and those who work for them are comfortable". Therefore, on the one hand, he opposed the fallacy of extreme retro school; On the one hand, they highly praised ancient music, demanded "less suppression of Zheng Sheng" to limit the development of national music, and opposed minority music and foreign music. However, this does not detract from the brilliance of his musical aesthetics, and some of his views are still of great practical significance to us today.
For more information, please refer to the General History of Music in China: