玄學中的音樂思想

The Metaphysical Concepts of Music in Hsuan-hsueh

本文討論王弼、阮籍與嵇康三人的音樂思想。王弼對於《老子》「大音希聲」的說法作了精當的闡釋；阮籍對於傳統「雅樂」的特性與功能，依據所謂「自然之道」的理論提出了重要的說明。至於嵇康，他那著名的〈聲無哀樂論〉，除了論證聲無哀樂以外，還善巧地揭示了聲有自然之理。筆者分別討論了他們的相關著作，並取傳統樂論來加以比較，旨在審察三人的玄學思想在其音樂領域的論述中所產生的影響。依筆者管見，王弼、阮籍與嵇康三人的音樂思想有一共同的基本原則，即「將欲全有必返於無」。可以聽聞的音樂是「有」；不可聽聞的「大音」或「自然之道」、「自然之理」是「無」。必須歸本於後者，音樂才能全其大用，盡其和美。三人的論述，對於傳統樂論的誣妄比附有所澄清；對於音樂欣賞與創作的境界有所提升；而對於音樂獨特的藝術精神與價值也有睿智的洞見。從這裏，我們可以看到玄學思想在音樂領域中的確有「開物成務」的作用。

This is a discussion of the concepts of music developed by Wang Pi, Juan Chi and Chi K'ang. According to Lao Tzu, “the greatest sound [which signifies Tao, expresses the essence of the universe and] is not to be detected with mortal ears” and Wang Pi gave a precise description of this concept. Based on “the essence of the universe,” Juan Chi offered significant connotations to enhance the features and functions of the traditional “aesthetically good music.” As to Chi K'ang, besides giving examples to prove, in his renowned “Sheng wu aile lun,” there is neither sorrow nor joy in sounds, he skillfully argued that aesthetically good music should correspond to the essence of the universe. In this study, with a view of understanding how metaphysical ideas affected their contemplation of music, I made an exhaustive search through each of their related works respectively and examined their views together with traditional music theory. In my opinion, Wang Pi, Juan Chi and Chi K'ang all believed in one fundamental principle; they all agreed that in contrast with “yu,” the music which can be detected with mortal ears, there is the kind of sound which is transcendental and superb and can never be possibly detected with mortal ears. This kind of sound is “wu” and is in accord with “the essence of the universe.” If music is to cultivate minds and reach the ultimate beauty of harmony, it should be in correspondence with the essence of the universe. They all claimed that, traditionally, music had long been vulgarly misused as a tool in both education and politics. Besides raising musical creation and appreciation to a much higher and sublime level, they offered creative insights and suggestions about the aesthetic quality and value of music as well. From this discussion we can understand how the metaphysical thoughts of Hsuan-hsueh can provide both constructive enlightenment and nourishment to the concept of music.