淺談毛奇齡之音樂美學

Music Aesthetic of Mao Chi-ling

毛奇齡，明末清初人。其所治的樂學，論述多集中於《竟山樂錄」、《聖諭樂本解說」與《皇言定聲錄」中，樂論的內容除言及律數外，還對古來樂論的舊說，做了掃蕩廓清的功夫。概括言之，重點有五：首先，從「樂的起源」論述五聲與宇宙天地未必有密切的關連性，人們應從聲音的本體來探求音樂，而不是從外界的事物來尋找音樂的本源；其次，「樂音定聲之說」，論及天地本有定數，而天數與地數各有聲，二者相配後，產生七聲或九聲；第三，「樂亡佚的因素」，提及樂書越是完備，而樂越是不明；第四，「番、俗、雅樂之差等」的部分，則依次排序為番樂、俗樂、雅樂，雅樂不僅置於番樂與俗樂之後，且不再視大中至正，和平的雅樂為正聲；最後，「音樂流傳之雅俗」則以「倡樂」、「番樂」所設的樂官，說明流傳於世間的俗樂，應與雅樂一般受到重視。由此可見，不僅提高民間音樂的地位，重新檢視其內容與價值，又教人習樂的先後，以及依次排列番樂、俗樂、雅樂的差等，以改變時人對雅俗音樂的刻板印象。

Mao Chi-ling was born in late-Ming Dynasty and early-Ching Dynasty. His music theories were collected in his 'Jing Shan Yue Lu (Jing Shan Music Notes)', 'Sheng Yu Yue Ben Jie Shuo (Illustration of Emperor Order and Music Score)', and 'Huang Yan Ding Sheng Lu (Sound Record of Emperor Words)'. In addition to words, laws and rules, content of the music theory included a clarification of ancient music theories. Generally speaking, this study focuses on five issues as follows: 1) a discussion that there may not be a close relationship between pentatonic scale and the universe from the perspective of the 'source of music'; people should study music from voice itself instead of looking for the origin of music from outside world; 2) 'a theory of music sound determines voice' suggests there is a constant in the universe of heaven and earth; constants for heaven and earth are paired to produce seven or nine sounds; 3) 'factors of lost music' mentions the more complete the music score, the more unclear the music plays; 4) in terms of 'the difference among barbarian, common and graceful music', the order should be barbarian, common and graceful music. Not only graceful music should be placed after barbarian and common music, the primary, just, peaceful graceful music should not be considered as the mainstream. Finally, in 'circulation of graceful and common music', the idea that the importance of common music circulation should be emphasized like graceful music is explained using the music officer established by 'music promotion' and 'barbarian music'. Not only status of folk music is improved, the content and value are also re-examined. It also teaches people the sequence of learning music and the order of barbarian, common and graceful music; it changes people's stereotype for graceful and common music.