從嵇康《聲無哀樂論》論音樂與情感的關係

Abstract

情感是人類存在與生活的重要活動與面向，音樂是人類文化不可或缺的重要精神活動，音樂與情感的關係既密切又難以清楚地被解釋。嵇康對音樂與情感的關係提出了否定的命題，本論文將主要聚焦於嵇康的〈聲無哀樂論〉來探討其內涵。但是嵇康所反的傳統論點來自《樂記》，因此對《樂記》的探討也是不可避免的。而二者所建構的音樂情感理論是如何被實踐在實際的演奏操作之中？本論文將以古琴理論的代表作《谿山琴況》為研究文本。 將這三份文獻以情感的主軸來貫穿，探究各自的音樂情感哲學與彼此間相互影響、反對與繼承的關係。《樂記》認為音樂能表達內心情感，在外在影響與內在主動性的雙重作用下，人可以透過情感達到自我的整合，並藉由樂教的薰陶，使個人與社會達到和諧有序的狀態，以及人可藉由體會音樂運動中生生不滅的樂音之流，參與天地生生大化，以道德本位出發達致天人合一的境界。 嵇康反對《樂記》的音樂情感觀，認為音樂是純粹客觀的陰陽太和之聲，不能表達人的情感，並認為《樂記》所說的“移風易俗”的社會功能，靠的不是音樂中的情感內容而是音樂元素與結構的平衡所產生的的至和之聲。而人與天地宇宙合一的管道再也不是道德式的，而是以躁靜的純粹氣化反應來歸返於宇宙太和之氣。 《谿山琴況》對《樂記》與〈聲無哀樂論〉皆有所繼承。對《樂記》的繼承在於重視心性的存養與雅俗之辨；對嵇康樂論的繼承在於對技藝的重視與對玄遠的理想世界之希慕。而對二書的發展則在於，使音樂的形上之道有了形下的具體實踐方法。 關鍵字：嵇康；〈聲無哀樂論〉；〈琴賦〉；《樂記》；《谿山琴況》；情感；音樂

Emotion is an important part of human life and our own existence; Music is the essential activity of human cultural and mind. The relation between music and emotion is so close that could not be explained lucidly. Ji Kang brought up a negative proposition on the relation between music and emotion. His treatise The Sound without Emotion is the focus of this dissertation. But Ji Kang’s treatise is the opposite to the traditional viewpoint that music can express emotion which is from Yue Ji. Therefore, Yue Ji is an another topic that has been to studied. And then, It’s very naturally to ask how are the theories which is constructed by Yue Ji and Sound without emotion applied to practice. The answer will come out in the study of Guqin’s most important treatise Xi Shan Qin Kuang. These three texts will be threaded together with the theme of the relation between music and emotion. And we will see how the relation is different and developed in different texts.

Keywords: Ji Kang; Treatise on the Sound without emotion; Yue Ji; Xi Shan Qin Kuang; Emotion; Music