試析〈聲無哀樂論〉之玄理
| dc.contributor.author | 謝大寧 | zh_tw |
| dc.date.accessioned | 2014-10-27T15:42:56Z | |
| dc.date.available | 2014-10-27T15:42:56Z | |
| dc.date.issued | 1997-03-?? | zh_TW |
| dc.description.abstract | 嵇康的「聲無哀樂論」一直是中國音樂美學，也是道家美學的一篇重要文獻，但歷來的詮釋者，似乎均未能將此文之樂理和道家之玄理作緊密之扣合，致使此文的詮釋始終存在著不小的漏洞。本文之作，即旨在嘗試以中國音樂美學中「聲、音、樂」三分的結構，來指出嵇康此文思路的滑轉；其中最重要者，尤在「和」這一概念上所出現的歧義。筆者在指出此一歧義之餘，並嘗試以「境界之和」這一概念，作為此文之義理歸宿，以為稽康思想之詮釋更進一解。 | zh_tw |
| dc.description.abstract | The essay “聲無哀樂論” by Zhi-kan (稽康) has long been established as a milestone in Chinese acoustic aesthetics and Taoist aesthetics. But so proposed in this essay and the Taoist wisdom, hence missing the proper appreciation of this important essay. I try to formulate here a synthesis of the trilateral property of Chinese acoustic aesthetics, namely “sound, voice-quality, music” “harmony”. In other words, while resorting to this bifurcation and making “the harmony of higher order” (境界之和 the center point of this essay, I also believe a better understanding of its is under way. | en_US |
| dc.identifier | D081F23D-539B-7AC0-FF19-F553C4EBC880 | zh_TW |
| dc.identifier.uri | http://rportal.lib.ntnu.edu.tw/handle/20.500.12235/25040 | |
| dc.language | 中文 | zh_TW |
| dc.publisher | 國文學系 | zh_tw |
| dc.publisher | Department of Chinese, NTNU | en_US |
| dc.relation | (18)，159-173 | zh_TW |
| dc.relation.ispartof | 中國學術年刊 | zh_tw |
| dc.subject.other | 和聲 | zh_tw |
| dc.subject.other | 和聲無象 | zh_tw |
| dc.subject.other | 聲音樂三分 | zh_tw |
| dc.subject.other | 自然之和 | zh_tw |
| dc.subject.other | 境界之和 | zh_tw |
| dc.subject.other | Harmony | en_US |
| dc.subject.other | Harmony is heantonomy | en_US |
| dc.subject.other | The trilateral property of "sound | en_US |
| dc.subject.other | roice-qualith | en_US |
| dc.subject.other | music" | en_US |
| dc.subject.other | The harmony of nature | en_US |
| dc.subject.other | The harmony of higher order | en_US |
| dc.title | 試析〈聲無哀樂論〉之玄理 | zh-tw |