作者簡介
劉莉，碩士期間就讀于新疆師範大學，研究方向為中國文學批評史，03 年畢業留校分到音樂
學院，教授藝術理論、音樂美學等文化課程。08 年在職考入華東師範大學文藝學專業文藝美學方向，2011 年獲博士學位。近年來，在 CSSCI 核心期刊《甘肅社會科學》、《新疆大學學報》、《天津音樂學院學報》、《南京藝術學院學報》等期刊發表論文《論嵇康的和聲觀》、《阮籍〈樂論〉音樂美學價值的再評價》等有關音樂美學方面的論文 8 篇。

提要魏晉南北朝時期音樂美學思想的整體特徵有二：一是獨立，它從社會倫理道德的領域中獨立出來，側重從音樂自身出發去探討音樂的審美規律；二是突破，它以道家思想、玄學人本精
神和佛學主體心性哲學為依託，實現了對以儒家為代表的傳統主流音樂美學思想的超越。本文
擬從中國音樂美學本身固有的範疇出發來深入透析其美學思想的精髓。「源起篇」追根溯源，探尋魏晉南北朝音樂美學思想突破前代獲得獨立的思想根源；其餘四篇「和聲」、「樂象」、「雅俗」、「樂教」形成一個有機的體系，全面而深入地揭示魏晉南北朝時代音樂美學思想的特質。
從整體看，魏晉南北朝時期的音樂美學思想完成了對以儒家為代表的傳統音樂美學思想的超越與突破，它從禮樂合一的思想模式中掙脫出來獲得了音樂美學的獨立。這一時期的音樂美
學思想在整個中國音樂美學史上具有劃時代的重大意義，它糾正了由儒家音樂美學思想所開闢
外部教化研究路徑的偏差，將音樂美學思想帶入音樂內部世界中進行探尋，開啟了後世音樂內
部研究的傳統，從此中國音樂美學思想在儒家所宣導的社會研究路徑和魏晉南北朝時期所開闢的內部研究道路上穩步前進。

目目次

導 言 ············································································ 1
第一節 研究背景 ······················································ 1
第二節 研究綜述 ······················································ 6
一、中國美學思想史、玄學、文論論著中的魏晉南北朝音樂美學思想研究 ························· 7
二、中國古代音樂美學史中的魏晉南北朝音
樂美學思想的研究 ········································ 9
三、專人、專著研究 ········································· 11
四、範疇研究 ···················································· 12
第三節 研究方法 ···················································· 13
一、範疇研究 ···················································· 14
二、以中爲本，西學參證 ·································· 16
三、文本闡釋的尺度：古今統一 ······················ 17
第一章 源起篇 ·························································· 19
第一節 時政與音樂美學 ········································· 19
一、才與性的交鋒 ············································· 20
二、生與死的掙扎 ············································· 22
三、禮崩樂壞 ···················································· 24
第二節 玄學與音樂美學 ········································· 26
一、言、意與象 ················································· 29
二、形神關係 ···················································· 31
三、聲無哀樂 ···················································· 32
第三節 佛學與音樂美學 ········································· 35
一、神與天樂 ···················································· 36
二、佛與心 ························································ 39
三、中觀與中音 ················································· 42
第四節 音樂實踐與音樂美學·································· 43
一、從「樂」到「和聲」 ·································· 43
二、雅樂的衰落與俗樂的興盛 ·························· 45
三、佛教音樂與西域民族音樂 ·························· 48
第二章 和聲篇 ·························································· 51
第一節 「和」範疇的內涵及其演變 ························ 51
一、聽覺的和諧 ················································· 52
二、多元化的統一 ············································· 53
三、內容與形式的和諧 ····································· 54
四、主體的和諧 ················································· 55－目 1－次魏晉南北朝音樂美學思想研究

第二節 自然之和 ···················································· 57
一、「八音有本體，五聲有自然」····················· 58
二、「音聲有自然之和，而無系於人情」 ········· 61
三、「漸近自然」 ··············································· 63
第三節 音聲之和 ···················································· 65一、「和比」 ······················································ 65
二、「聲文兩得」 ··············································· 68
三、「中和」 ······················································ 70
第四節 主體之和 ···················································· 71
一、「樂者，使人精神平和」 ···························· 72
二、「聲音以平和爲體」···································· 76
第三章 樂象篇 ·························································· 81
第一節 樂象問題的由來及其內涵 ·························· 81
一、象、道與聲 ················································· 82
二、樂象的指稱問題 ········································· 84
三、樂象的含義 ················································· 86
四、樂象問題的研究價值 ·································· 88
第二節 特徵論 ························································ 89
一、主客交融、以心馭聲 ·································· 89
二、心慷慨忘歸，情舒放遠覽 ·························· 92
三、遊心大象，妙在象外 ·································· 94
第三節 意境論 ························································ 96
一、「大成之樂」與「天樂」 ···························· 97
二、「微妙無形，寂寞無聽」 ·························· 100
三、「弦外之意，虛響之音」 ·························· 101
第四節 「和聲無象」論 ········································· 102
一、對音聲中盛衰吉凶之象的批判 ················· 103
二、對音聲中功德之象的批判 ························ 105
三、對音聲中主體心象的批判 ························ 108
第五節 心象論 ·······················································111
一、心象的不確定性 ······································· 112
二、心象的自由性 ··········································· 115
三、心象的三種境界 ······································· 116
第六節 音心對映論··············································· 120
一、聲有哀樂論中的音心對映 ························ 120
二、聲無哀樂論中的音心對映 ························ 122

－目 2－

目

第四章 雅俗篇 ························································ 127
第一節 雅俗之爭 ·················································· 127
一、雅樂與俗樂 ··············································· 128
二、雅俗的分野 ··············································· 129
第二節 雅樂觀 ······················································ 133
一、清雅 ·························································· 133
二、素雅 ·························································· 135
三、淡雅 ·························································· 137
第三節 俗樂觀 ······················································ 139一、統治階層的倡導 ······································· 139
二、魏晉風度與才藝表演 ································ 141
三、俗樂對禮的超越 ······································· 144
四、悲樂對樂感文化的揚棄 ···························· 146
第四節 雅俗論 ······················································ 149
一、悲樂論 ······················································ 149
二、成因論 ······················································ 154
三、互補論 ······················································ 160
第五章 樂教篇 ························································ 165
第一節 價值論 ······················································ 166
一、從「和其志」到「窮其趣」 ···················· 166
二、從「節情」到「宣情」 ···························· 174
三、從「比德」到「暢神」 ···························· 179
第二節 人性論 ······················································ 184
一、「順性」之樂 ············································· 184
二、「夫樂者，天地之體，萬物之性也」 ······· 186
三、「和聲之感人心，亦猶醞酒之發人性」···· 187
第三節 社會論 ······················································ 191
一、音樂「移風易俗」命題的提出 ················· 191
二、音樂「移風易俗」功能的表現 ················· 193
三、音樂「移風易俗」功能的實施 ················· 198
結 語 ········································································ 203
附錄：中國音樂美學史研究著作····························· 207參考文獻 ···································································· 209－目 3－次