分析美学视阈下《庄子》的“声–乐”融合模型
Fusion Model on “Sound and Music” in Zhuangzi from the Perspective of Analytic Aesthetics

礼乐传统下生长出的先秦诸子对待音乐的态度各不相同，在分析美学的视阈下，以区分音乐构成的基本元素为出发点，本文结合《庄子》中有关“人籁”、“地籁”以及《咸池》音乐的论述，将其概括为一种“声–乐”融合模型；区别于《乐记·乐本》中的“声–乐”的分离模型。基于此，《庄子》文本中的音乐哲学展现出一种更强的理论包容性，特别是《咸池》故事中对审美体验的综合性描述，兼顾了实质性的音乐话语、情感体验以及互动诠释。
The pre-Qin scholars who grew up under the traditional rites and music had different attitudes toward music. From the perspective of analytical aesthetics and taking the distinction of the basic elements of music composition as the starting point, combined with the discussions on “renlai”, “dilai” and the music of Xianchi in Zhuangzi, this paper summarizes it as a “sound-music” fusion model; which is different from the “sound-music” separation model in Yueben. The music philosophy in the text of Zhuangzi shows stronger theoretical inclusiveness, especially in the comprehensive description of aesthetic experience in the story of Xianchi which takes into account substantive musical discourse, emotional experience and interactive interpretation.