| 《声无哀乐论》中"声"的三个层次 |
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| 引用本文： | 郭秀岭.《声无哀乐论》中"声"的三个层次[J].许昌学院学报,2007,26(4):69-70. |
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| 作者姓名： | 郭秀岭 |
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| 作者单位： | 漯河职业技术学院,音乐系,河南,漯河462000 |
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| 摘 要： | 嵇康的《声无哀乐论》本质上不是专门论述音乐的属性,而是通过声无哀乐这一命题来表明自己的处世态度和对美好自然的热爱。其"声"除含有音乐的意义外,还包含着自我以及与自我相融合的大自然。
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| 关 键 词： | 嵇康 声无哀乐论 音乐美学 |
| 文章编号： | 1671-9824（2007）04-0069-02 |
| 收稿时间： | 2006-08-22 |
| 修稿时间： | 2006-08-22 |
The implications of sheng in Music without Sadness and Happiness by Ji Kang |
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| GUO Xiu-ling.The implications of sheng in Music without Sadness and Happiness by Ji Kang[J].Journal of Xuchang University,2007,26(4):69-70. |
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| Authors: | GUO Xiu-ling |
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| Institution: | Music Department, Luohe Polytechnic College, Luohe 462000,China |
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| Abstract: | Instead of discussing the attribute of music,Music without Sadness and Happiness by Ji Kang expresses the author's attitude towards the world and his love for nature.Besides music,sheng also has the implications of ego and the nature that ego is combined with. |
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| Keywords: | Ji Kang Music without Sadness and Happiness music aesthetics |
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