如果说数学是古代希腊美学的灵魂，那么音乐就是古代中国美学之灵魂。这可能是居于孔子本身就狂爱音乐的这个事实吧。比如，当他与人相遇，如果对那人的歌唱很喜欢，他会要求他重唱，然后他自己加入同唱。他也精通乐器，在卫国玩罄（古代乐器），边唱边玩古筝，跟襄子学鼓。据《论语》所载，孔子在齐国听到了韶乐，他陶醉到三个月之内吃肉不觉得有肉的味道。还说：‘不图为乐之至于斯也。’想不到这乐曲竟达到了如此的境地。
《乐记》详细说明了孔子的音乐学说。《乐记》可说是最有系统的陈述儒家美学。它一开始就讲解了音乐的起源与功能。
‘凡音之起，由人心生也。人心之动物使之然也。
感于物而动，故形于声，声相应，故生变，变成方谓之音。比音而乐之，及干戚羽旄，谓之乐。乐者，音之所由生也；其本在人心之感于物也。
是故其哀心感者，其声焦以杀；其乐心感者，其声啴以缓；其喜心感者．其声发以散；其怒心感者，其声粗以厉；其敬心感者，其声直以廉；其爱心感者，其声和以柔。六者非性也，感于物而后动。是故先王慎所以感之者。
故礼以道其志，乐以和其声，政以一其行，刑以防其奸。礼乐刑政，其极一也。所以同民心而出治道也。’
.
If mathematics is the soul of ancient Greek aesthetics, then music is the soul of ancient Chinese aesthetics. This could due to the fact that Confucius himself was almost crazy about music. When he was pleased with the singing of someone he was with, for instance, he would always ask to have the song repeated and would join in himself. He was also good at playing musical instruments: playing qing at Wei, singing while playing zither, learning drumming from Xiangzi. And as is recorded in the Analects, when Confucius was in the State of Qi, he heard the music of Shao; he was so intoxicated with the sweetness of its tone that he for three months did not know the taste of flesh. ‘I did not think that music could have been made as excellent as this.’ he said. (7:13)
This Confucian doctrine of aesthetics is elaborated in Yue ji or Record of Music which is perhaps the most systematic literature on aesthetics in the tradition of Confucianism.
From the very beginning, Yue ji gives an explanation to the origination and function of music:
‘All the modulations of the voice arise from the mind, and the various affections of the mind are produced by things (external to it).
The affections thus produced are manifested in the sounds that are uttered. Changes are produced by the way in which those sounds respond to one another; and those changes constitute what we call the modulations of the voice. The combination of those modulated sounds, so as to give pleasure, and the (direction in harmony with them of the) shields and axes, and of the plumes and ox-tails, constitutes what we call music. Music is (thus) the production of the modulations of the voice, and its source is in the affections of the mind as it is influenced by (external) things.
When the mind is moved to sorrow, the sound is sharp and fading away; when it is moved to pleasure, the sound is slow and gentle; when it is moved to joy, the sound is exclamatory and soon disappears; when it is moved to reverence, the sound is straightforward, with an indication of humility; when it is moved to love, the sound is harmonious and soft. These six peculiarities of sound are not natural; they indicate the impressions produced by (external) things. On this account the ancient kings were watchful in regard to the things by which the mind was affected.
And so (they instituted) ceremonies to direct men’s aims aright; music to give harmony to their voices; laws to unify their conduct; and punishments to guard against their tendencies to evil. The end to which ceremonies, music, punishments, and laws conduct is one; they are the instruments by which the minds of the people are assimilated, and good order in government is made to appear.’
《乐记》详细说明了孔子的音乐学说。《乐记》可说是最有系统的陈述儒家美学。它一开始就讲解了音乐的起源与功能。
‘凡音之起，由人心生也。人心之动物使之然也。
感于物而动，故形于声，声相应，故生变，变成方谓之音。比音而乐之，及干戚羽旄，谓之乐。乐者，音之所由生也；其本在人心之感于物也。
是故其哀心感者，其声焦以杀；其乐心感者，其声啴以缓；其喜心感者．其声发以散；其怒心感者，其声粗以厉；其敬心感者，其声直以廉；其爱心感者，其声和以柔。六者非性也，感于物而后动。是故先王慎所以感之者。
故礼以道其志，乐以和其声，政以一其行，刑以防其奸。礼乐刑政，其极一也。所以同民心而出治道也。’
.
If mathematics is the soul of ancient Greek aesthetics, then music is the soul of ancient Chinese aesthetics. This could due to the fact that Confucius himself was almost crazy about music. When he was pleased with the singing of someone he was with, for instance, he would always ask to have the song repeated and would join in himself. He was also good at playing musical instruments: playing qing at Wei, singing while playing zither, learning drumming from Xiangzi. And as is recorded in the Analects, when Confucius was in the State of Qi, he heard the music of Shao; he was so intoxicated with the sweetness of its tone that he for three months did not know the taste of flesh. ‘I did not think that music could have been made as excellent as this.’ he said. (7:13)
This Confucian doctrine of aesthetics is elaborated in Yue ji or Record of Music which is perhaps the most systematic literature on aesthetics in the tradition of Confucianism.
From the very beginning, Yue ji gives an explanation to the origination and function of music:
‘All the modulations of the voice arise from the mind, and the various affections of the mind are produced by things (external to it).
The affections thus produced are manifested in the sounds that are uttered. Changes are produced by the way in which those sounds respond to one another; and those changes constitute what we call the modulations of the voice. The combination of those modulated sounds, so as to give pleasure, and the (direction in harmony with them of the) shields and axes, and of the plumes and ox-tails, constitutes what we call music. Music is (thus) the production of the modulations of the voice, and its source is in the affections of the mind as it is influenced by (external) things.
When the mind is moved to sorrow, the sound is sharp and fading away; when it is moved to pleasure, the sound is slow and gentle; when it is moved to joy, the sound is exclamatory and soon disappears; when it is moved to reverence, the sound is straightforward, with an indication of humility; when it is moved to love, the sound is harmonious and soft. These six peculiarities of sound are not natural; they indicate the impressions produced by (external) things. On this account the ancient kings were watchful in regard to the things by which the mind was affected.
And so (they instituted) ceremonies to direct men’s aims aright; music to give harmony to their voices; laws to unify their conduct; and punishments to guard against their tendencies to evil. The end to which ceremonies, music, punishments, and laws conduct is one; they are the instruments by which the minds of the people are assimilated, and good order in government is made to appear.’
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