摘要
在中国音乐美学界延续了20多年的"音心对映论"争鸣,其学术指向已经超越了"音心对映论"本身,直指中国音乐美学体系的建构与中西音乐美学的对话,是中国音乐美学界一次重要的学术自省与自觉,已经成为中国音乐美学研究史不可或缺的组成部分。音乐与情感的关系是儒家乐论的核心问题。儒家提出"乐者,乐也"这一范畴,试图用由上而下、由外而内、从情感熏陶到品性养成的办法,将礼乐制度变成个体自动、自发的情感选择与行为规范,从而实现整个天下的大治。
The academic focus of the debates over ＂Yin Xin Dui Ying lun＂, which has lasted for more than two decades in the area of Chinese Aesthetics of Music, was beyond the ＂Yin Xin Dui Ying Lun＂ itself , directly pointed to the construction of the system of Chinese Aesthetics of Music and its dialog with Sino-western aesthetics of music, is an important academic introspection and consciousness in the area of Chinese Aesthetics of Music , has already become indispensable part of the history of studying Chinese Aesthetics of Music. The relationship between music and emotions is the ＂core＂ issue of ＂Confucian Yue Lun ＂. Confucian put forward the category ＂Yue is Le＂, in an attempt to turn the Li Yue system into individually spontaneous emotional choice and behavioral code using the ＂from up-to-down, out-to-in, emotion-to- moral ＂methods, and thus ultimately realize the effective reign of the entire nation.
出处
《黄钟（武汉音乐学院学报）》
CSSCI
北大核心
2008年第3期61-67,75,共8页
Huangzhong:Journal of Wuhan Conservatory of Music
基金
上海市教委一般项目资助项目
编号07ZS112
上海音乐学院音研所项目
上海市第二期重点学科建设项目资助
项目编号T0701
霍英东教育基金会第十一届高等院校青年教师基金资助
项目编号111102
作者简介
杨赛（1976-），男，上海音乐学院音乐学博士后、社科部讲师（上海200031）。
