음악과 도덕- 嵇康의 「聲無哀樂論」을 중심으로 -

Abstract

The In Xi Kang’s (嵇康, 224-263 or 223-262) philosophy of music, the principles or patterns of Nature [自然之理] and the harmonious mind [和心] are expressed in the Supreme Music [至樂]. The harmonious mind [和心] is also considered a musical emotion that can be distinguished from general emotions but are closely related to moral emotions. Although Xi Kang criticized the drawbacks of Mingjiao [名敎], he never ignored the values of the ritual and music system that was in accordance with Nature [自然]. Xi Kang thought that the true spirit of music is caring for people as embodied in the so-called ‘Soundless Music [無聲之樂],’ and therefore he favorably considered the system of ritual and music preserving a sound spirit of music as a second best solution to the problems of his society. Thus, according to my interpretation of the 8th discussion in Xi Kang’s Essay “Sound Has Neither Sorrow nor Joy (Sheng wu ai le lun),” Xi Kang can be considered to have strongly criticized Confucianism as a fixed governing tool to control individual lives, but at the same time to have also wanted to maintain the ritual and music system that was still preserving a fundamental and lively spirit of music. In addition, he can be considered to have tried to come up with a concrete and practical new system that was intended to cultivate simple and harmonious nature of every individual in accordance with the principles or patterns of Nature. While raising critical questions about and reflecting on the Confucian frame of musical thought incessantly, Xi Kang tried to find the fundamental spirit of music that can be shared and affirmed by both Confucian and Daoist theorists. Music in Xi Kang’s philosophy was not only used as a metaphor of Dao [道] but also considered to contain harmonious and loving mind. By sharing such a kind of music and musical spirit, as Xi Kang thought, people can recover their nature, give a life to it, and live in harmony with others.