The above thoughts of Lao Zi and Zhuang Zi permeated all aspects of Guqin's aesthetic thoughts. The idea of "being dull and tasteless" in Laozi was absorbed and developed by Ruan Ji, Ji Kang, Bai Juyi, Zhou Dunyi, Xu Shangying, etc., which formed the worship of "being dull and harmonious" in music aesthetics, limited the diversity of guqin music styles and had a great negative impact on the development of guqin. Tao Yuanming, Bai Juyi, Xue Yijian and others inherited the idea of "great sound and happy sound" in Laozi, which made advocating "happy sound" the goal pursued by many Qin people. Zhuangzi's thought of "being complacent and forgetting what he said" was inherited by many musicians such as Tao Yuanming, which made the pursuit of implication and implication become an important feature of Guqin music aesthetics. Lao Zi and Zhuang Zi's admiration for the beauty of nature was inherited by Ji Kang, Tao Yuanming, Li Zhi and many others, which made Guqin's aesthetic thought attach importance to the connection between man and nature and pursue the unity of man and nature. Zhuangzi's thought that freedom is the beauty and music can freely express feelings was further developed by Ji Kang and Li Zhi, who advocated that music should be an art for people to express their feelings, rather than a tool for feudal rule. In addition, Lao and Zhuang Mingzhe's thoughts of preserving our health and retiring from the world also have a certain influence on Guqin's aesthetic thought.
The viewpoints of "being dull and insipid" and "having a great sound and hoping for a good sound" in Laozi have been unanimously praised by the Qin people, which has had a great influence on the aesthetic appreciation of Guqin music. "Light" comes from "Lao Zi? Chapter 35 "The words of the Tao are dull and tasteless". Literature shows that the category of "lightness" put forward by Laozi did not cause great repercussions before the Han Dynasty. After the Wei and Jin Dynasties, Confucian classics were damaged, metaphysics prevailed, and the "light" aesthetic was valued. Therefore, Ruan Ji said that "morality is dull, so five sounds are tasteless", advocating quiet music and rejecting bel canto and sad music. In the Tang Dynasty, "light" began to be used to describe the style of Qin music. Qin poems such as "Qing Ling is by nature, and calmness follows people's hearts", "The melody is light and few sounds", "The ancient sound is tasteless, which is not called today's human feelings", "It's dull to hear, but it's tender to feel" and "Peace of mind is dull to sound, and there is no ancient or modern sound in between" have been shown by the Tang Dynasty. On the basis of Confucianism, Song and Zhou Dunyi absorbed and integrated the thoughts of Laozi and put forward the theory of "light harmony", which made "light harmony" a musical aesthetic respected by Confucianism and Taoism. The aesthetic view of "light harmony" is consistent with both the Taoist idea of light harmony and the Confucian idea of neutralization, so it is accepted by many piano players. In the Preface to Xiao Changfu, Zhen Dexiu of Song Dynasty tried his best to praise the style of guqin, which is "rare" and "rare". Ming Yan Tianchi also said: "Only guqin can separate the palace merchants from each other, and Yu Bo can communicate virtue and meaning, and he wants to make it even, so he can release it rashly" (Biography of Qinchuan). Xu Shangying, on the other hand, thinks that "the vowel sound of the piano is originally light" and "the light sound of the piano is beneficial to the taste", and says that "light" means "to make the listener wander and entertain, and I don't know where to go" (The Situation of Xishan Piano). Qing Wang? He even developed "light harmony" to the extreme, thinking that "the joy of the first king is only light harmony. Light, so I want to be calm; Harmony, therefore, makes you impatient "(Li Xue Zhai Qin Pu), which regards" lightness "as an important aesthetic criterion above" harmony ". He defined the standard of "lightness" as "moderation, keeping order, not promoting rhyme, not complicated sound, not pleasing to the ear", based on Confucianism and Buddhism: "moderation and keeping order" is the "middle voice" advocated by Confucianism; "No rhyme, no noise" is obviously consistent with the Confucian idea of prohibiting "annoying masturbation"; "Nothing is pleasing to the ear" is the joy of advocating "three sighs" and rejecting "? The exertion of the thought of "the voice of the heart and ears" completely denied the artistry of guqin music. Compared with "neutralization" and "peace", "light harmony" emphasizes that music should kill people's desires, release their impatience, and reject the artistry of music and the expression of feelings, so it has a greater negative effect on the free development of guqin. The idea of "being dull and tasteless" in Laozi is combined with Confucianism to form a "light and harmonious" aesthetic view, which is not only the result of transforming Taoism with Confucianism, but also the limitation of Taoism itself. The purpose of "Lao Zi" is to deny the action by inaction and the joy of sound by "loud voice and happy voice", so it will eventually develop from "bland and tasteless" to "bland and harmonious", which will have a negative impact on musical aesthetics.
"Da Yin Xi Sheng" in Laozi fully affirmed the eternal beauty of silent music with reference to the music of sound, and was later incorporated into the guqin theory by Zhuangzi, saying that "success and loss make Zhao's guqin also; There is no achievement or loss, so Zhao's failure to play the drums is also "("The Theory of All Things "). This idea is highly praised by scholars and has a great influence on the traditional guqin aesthetic thought. Qin people in all previous dynasties all regarded "Xi Sheng" as the best place to play, in order to pursue the implicit beauty of Qin music. Xu Shangying gave a detailed description of "Xi Sheng" from the perspective of performance aesthetics, and gave a brand-new interpretation of the thought of Lao Zi. For example, in the case of "Jing", he said that "the so-called hope is extremely quiet, and it is almost ethereal, and the wandering spirit is above the Emperor Xi", and in the case of "late", he said ". If it is too ancient, you can swim on the string, save its climate, wait for it, and learn from it, which is the beginning of this hope; Or chapters and sentences are comfortable, or urgent, or intermittent, or secluded and far-reaching, because of waiting for the right time, adjusting the ancient sound, gradually entering the origin, and the mind is endless, this hope is also extended; Re-exploring its late interest is that if the mountains are quiet and autumn, the moon is high and the forest is high, the wind is blowing far away, the stone stream is cold, and the day does not know how to feed it, and the evening does not feel the dawn, this hope is also in the environment. " It is worth noting that Xu Shangying's interpretation of "Xi Sheng" here is based on the music of sound, which is different from the original intention of Lao Zi and Zhuang Zi. Xu's words represent the views of most Qin theories. In classical Qin theories, the word "hope" mostly means sparseness, that is, "playing slowly and slowly, with more than ten sounds in the middle of the night" (Bai Juyi's Night Qin) and "the music is a festival with few sounds" (Bai Juyi's Five-stringed Piano), while "Lao Zi" means the music with sound. The positive influence of "great sound and happy sound" on guqin aesthetics is manifested in people's pursuit of the implicit beauty of "light but understanding", the requirement of creating far-reaching artistic conception of music and the pursuit of the charm beyond the strings of music; Its negative influence is manifested in the fact that the Qin people take "the sound of hope" as the standard, and reject the "annoying masturbation sound" and "boring sound" in guqin performance. Chen Youci, Zhu Fengxie and others all have similar piano theories.
Zhuangzi puts forward that "the speaker is so concerned that he forgets what he said with pride" (Foreign Things), and also puts forward "heart-fasting"-"without listening to his ears, he listens to his heart, without listening to his heart, he listens to it with anger ... but treats things falsely" (Human World), "sitting and forgetting"-"falling off his limbs". This also has a profound impact on the aesthetics of guqin, so Tao Yuanming put forward that "it is interesting to know the piano, so why bother to sound on the strings", thinking that the true meaning of music lies not in the sound itself, but outside the sound, and playing the piano is to get the interesting meaning beyond the strings. Since then, Qin theory has also attached importance to the relationship between sound and meaning, with the ultimate goal of forgetting everything, returning to nature and integrating man with nature, and has reflected the pursuit of overtones and overtones from various angles and levels such as creation, performance and appreciation. For example, the music creation of "Dream Butterfly in Zhuang Zhou" and "Sit Forgetting" shows this pursuit of forgetting things and me, and becomes jade? On Qin, Ouyang Xiu, Su Shi, Zhuang Zhenfeng, etc., show that Qin people especially pursue the expression of implication and the experience of beauty beyond implication in performance and appreciation. They think that when playing, the meaning is more important than the sound, when appreciating, the heart is more important than the ear, and the mind is vested and the body is forgotten. Liu Ji said, "When something sounds, imagine it as a song, the mountains and rivers are hidden, the moon is in the string, and the wind is blowing." , penetrating the breeze under the finger "("Qin Yi "); Xu shangying said, "it is reflected in the mountains, but it is reflected in the shadows; With the water phase, but the ocean is dreamy; The summer heat can also be changed, and the virtual hall is suspicious of snow; The cold can return, and the grass pavilion flows in spring "("Xishan Qin Condition "); Zhu Feng said, "I am proficient in the mystery, and I want to be suitable, but I don't want to be alone. I forget the strings and fingers, and the sounds and sounds are ethereal, which is tantamount to being immortal" (Music with the Ancient Zhai and Complement the Righteousness). What they described is just such a perfect situation, so Yan Yuan simply listed "forgetting heart and hand, forgetting hand and string" as one of the important criteria for playing the piano.
Li Zhi inherited and developed Zhuangzi's spirit of "valuing truth from nature", opposing bondage and pursuing freedom. Based on the theory of "childlike innocence", Li Zhi sharply criticized the proposition of "the piano player is forbidden" which represents the typical Confucian aesthetic thought, and put forward that "the piano player, the heart is also, the piano player is also, so the heart is also sung". This proposition comes from Qin Fu, Volume 5 of Burning Books, and its aesthetic significance is threefold: First, "Qin Zhe, Xin Ye" regards Qin music as an art to express people's inner feelings, breaking through the shackles of the thought of "Qin Zhe, Ban Ye". Confucianism regards guqin as a tool for a gentleman to cultivate self-cultivation and manage the country, and advocates the aesthetic view of "peace" and "light harmony", which has seriously hampered the development of guqin art from rejecting the change of music melody and rhythm to denying the entertainment function of music until it prohibits music from expressing feelings. Due to the dominant position of Confucian music thoughts in traditional music thoughts, these thoughts have always become the mainstream of guqin aesthetic thoughts, which are highly respected by feudal literati. Li Zhi was the first thinker in history who explicitly challenged this, and "Qin Zhe, Xin Ye" was the only bold expression of non-mainstream thoughts bred for thousands of years. Secondly, Li Zhi broke through the traditional thought of "silk is not as good as bamboo, and bamboo is not as good as meat, and it is getting closer to nature" when discussing the proposition of "Qin Zhe", and put forward that "the same heart is also the same" and "the same heart is the same, so is nature". The heart is different, and the hand is different. Although the hand can't sing, it can't. Mencius once said that "benevolence is not as deep as benevolence". Although the starting point of their argument is different, they agree that music is more touching than language. Thirdly, the proposal of "the piano player has a heart" is based on "taking nature as beauty", that is, taking nature as beauty and being the most beautiful recently, which is the embodiment of Li Zhi's "childlike innocence" theory in the field of guqin aesthetics. Li Zhi believes that "a childlike innocence is absolutely false and pure, and the original heart of the first thought is also true." If you lose your childlike innocence, you lose your sincerity and you lose your reality "("Burning books? " Childlike heart "). This childlike innocence is the natural heart at the beginning of life. Without childlike innocence, it is not a real person. From this point of view, Li Zhi particularly emphasized the natural affection of human beings, and proposed that "the cover of sound and emotion comes from affection, and the nature can be combined with correction." Therefore, if it is natural to be emotional, it will naturally stop at courtesy, and if it is not emotional, it will stop at courtesy. However, it is a loss to be too strong, so it is natural to be bel canto, and it is not so-called nature beyond emotion. Therefore, the tone of a clear character is naturally clear, the tone of a relaxed character is naturally slow, the broad-minded person is naturally mighty, the heroic person is naturally heroic, the depressed person is naturally sad, and the eccentric person is naturally fantastic. If there is a case, there is a tone, and all the feelings are natural. "("Burning books? " Reading the law "). Since music originates from emotion and depends on nature, it should show people's natural emotion, and should not be bound by artificial courtesy, because "beyond non-emotion, courtesy can stop." This view of taking nature as beauty and pursuing guqin to freely express people's feelings is the inheritance and development of Taoist thought of "respecting nature and valuing truth" and a breakthrough of Confucian ethics.
"Qin Zhe, the heart is also" is an important proposition of Taoist guqin aesthetic thought, which makes Taoist guqin aesthetic thought enter a more reasonable stage. This proposition holds that music is an art of freely expressing people's thoughts and feelings, and its fundamental value is the expression of feelings, not the tool of feudal rule. Since music is free to express itself, it should not be restricted. It only takes "peace" and "indifference" as beauty, excluding other music. Instead, it should freely express "excited by emotion" and complain about "crazy shouting, crying and crying". "Qin Zhe, the heart is also" and Confucian "Qin Zhe, ban Ye" formed a sharp opposition, which is a violent collision between the two musical ideas of Confucianism and Taoism in the Guqin forum, and is of great significance to the free development of Guqin music. Influenced by Li Zhi, there appeared some propositions in Guqin aesthetics, such as "sound is based on emotion". Li Yu, a Qing Dynasty man, also said in "Casual Love": "A wife gets along well, like a drum and harp", "My Fair Lady is a friend of the harp and harp", and the harp and harp are not his, but men and women are United in glue paint, and those who connect feelings and make them indistinguishable. " Although these thoughts did not receive due attention at that time, and some even were besieged by feudal guardians, their emphasis on emotional value was of great significance to the development of Guqin music.
History of Music
Chapter 1 The Origin of Music
The origin of music in human society can be traced back to a very ancient time. Before human beings produced language, they already knew how to express their meaning and feelings by using the level and strength of sound. With the development of human labor, the chant of unifying labor rhythm and the cry of transmitting information to each other have gradually emerged, which is the most primitive musical prototype; When people celebrate the harvest and share the fruits of labor, they often beat stone tools and wood to express their joy and joy, which is the embryonic form of the original musical instrument.
a, the legend of the origin of stringed instruments
Mercury is the messenger of the gods in Greek mythology. One day he was walking along the Nile and accidentally stepped on something, which made a wonderful sound. He picked it up and saw that it was an empty turtle shell with a dry tendon on the inside. So Mercury got inspiration from it and invented stringed instruments. Later generations verified that stringed instruments appeared before Mercury, but the invention of stringed instruments may have been inspired from this.
B. Legend of the origin of wind instruments
In ancient China, there was a musician named Ling Lun during the Yellow Emperor's period 5, years ago. According to legend, he once entered the Kunlun Mountains in the west to collect bamboo as a flute. At that time, there were just five phoenixes flying in the air, and he was in tune with the law. Although this legend is not completely credible, it is not unreasonable to regard it as the origin of wind instruments. People in primitive times, their working life, can be said to be accompanied by music and development, the two are closely linked. In this sense, music is directly produced from human labor life.
Chapter II Music of Primitive People
The two ancient river basins (Tigris River and Euphrates River) are one of the important birthplaces of human culture. At that time, rich Mesopotamia