The Musical Psychology Implications of Li Ji Le Ji

Focusing on the occurrence mechanism of music, the interactive relationship between music and psychology, and the socio-political psychological function of music, Li Ji Le Ji has become an important historical document of music psychology with the most original, systematic and innovative cultural characteristics in China, and has important guiding significance for the development of contemporary music psychology. Based on the perspective of music psychology, this paper focuses on the ideological core and value implications contained in "Etiquette and Music".

About the mechanism of music

The Book of Rites and Music repeatedly emphasizes the dialectical relationship between the origin of music and the inner psychology of man. For example, "Where the sound arises, it is born of the human heart." The movement of the human heart, the movement of things. Feeling the movement of things, so the shape of the sound. The sound corresponds, so it changes; it becomes a square, which is called a sound; it is more musical than a sound, and it is said to be a music. The musician is born of the place of sound; its essence is in the human heart and the feeling of things. "For example," those who sound it, those who give birth to hearts also." Emotions are in the middle, so the shape is in the sound. Sound is written, called sound. Another example is, "The musician, the movement of the heart, the sounder, the image of music." And so on.

The origin of music comes from the mental activity of people. Music is a subjective cultural phenomenon produced by people in order to meet and express psychological needs. Music is produced by people's psychological needs. The reason why people's psychological needs produce music is because they are moved by objective reality. Music originates from the human heart's induction of external things, people's hearts feel music, and music is born from the heart.

People's psychological state and value dimension are the intermediaries that realize the organic transformation from "sound" to "sound" to "music". The Book of Rites and Music classifies and deduces the distinction and progression between "sound", "tone" and "music". "Sound" is a natural existence that also exists in all things. Just for the sound of nature, without emotion and aesthetic value, it will not become "sound" or "music". "He who knows the sound but does not know the sound, and the beast is also." Even the sounds of animals, if there is no aesthetic orientation and telepathy, will not produce "sound" or "music". "The sound corresponds, so it changes; it becomes a square, which is called a sound." "Sound is written, it is called sound." When "sound" becomes "square" and "sound" becomes "text", that is, starting from people's psychological needs, following certain methods and rules, and forming a tune that conforms to social norms, the sound becomes "sound". The production of "music" is based on people's psychological needs and emotional expression, when people according to a certain tone, lift hunting gear, axe, feathers, ox tails, began to sing and dance, "music" was born. It can be seen that music is the result of people's mental and material induction and is an active reflection of people's psychological needs.

The good and evil of the human heart influence the direction and values of music. The Book of Rites and Music emphasizes: "Whoever commits adultery is touching, and the anti-qi should be treated, and the anti-qi becomes an image, and the sexual pleasure is flourishing." The right voice is touching, and the smooth breath should be followed, and the smooth breath is like an image, and the harmony is happy. "Therefore: The musician is also happy." Gentlemen are happy, and villains are happy. This shows that when people have a treacherous heart or a villain's heart, a bad atmosphere will be formed, lascivious music will rise, and when the legitimate voice of the heart touches people, a good social atmosphere will be formed, and harmonious and noble music will flourish. It should be said that the theory of the sensation of mind and matter in "Li Ji LeJi" has a simple materialist thought, which has deeply influenced the development style and basic trend of aesthetic theories such as "Mao Shi Preface", "Wenxin Carved Dragon", and "Poetry", and is the foundation document for the origin and originality of Chinese music psychological aesthetics.

About the interaction between music and personality psychology

Based on the analysis of music psychology, "Etiquette and Music" expounds the interaction between music and people's emotions, hearts and character.

First, the relationship between human emotions and music. According to the Book of Rites and Music, "Therefore those who mourn their hearts are killed by their voices." Its happy heart, its voice is slow. Its joyful feelings, its voice is scattered. Its angry people, its voice is thick and strong. Its respectful feelings, its voice is straight and honest. Its loving feelings, its voice and its softness". It can be seen that human emotions are divided into mourning, happy heart, joy, anger, respect and love, these six kinds of human emotions have different psychological attributes, naturally expressed in different tones, will produce different music. Conversely, different music can also reflect people's different emotional states. "The husband has the nature of flesh and mind, and there is no constant sorrow and joy, and should feel the movement of things, and then the mind is formed." It is the sound of the old Zhi Wei Killing, and the people think about it; the sound of the slow and easy red tape, and the people's recreation; the rough and fierce rise of the end of the Guangben sound, and the people are resolute; the sound of honesty, righteousness, and solemnity, and the people are solemn; the generous flesh is good and smooth and the sound of movement is composed, and the people are loving; the sound of the flow of evil and scattering di into the sound of purification, and the people are promiscuous. ”

Second, the relationship between human mind and music. The Book of Rites and Music quotes the dialogue between Wei Wenhou and Zi Xia and points out: "Zheng Yin is good at fornication, Song Yin is drowning in the female indulgence, Wei Yin is tending to be bored with the number of zhi, and Qi Yin is angry with Qiao Zhi, all four of which are obscene and harmful to virtue, and are sacrificed to Fu Yongye." "The mind is the embodiment of one's heart, heart and will. When people are affected by the psychological orientation of obscenity, indulgence, annoyance, and qiaozhi, it is bound to produce bad music. The Great Ceremony of Sacrifice to Heaven and Earth is a religious and cultural ceremony to realize the harmonious coexistence of heaven and earth among people and gods. Bad sounds can damage people's virtues, and it is impossible to perform such music during sacrifices. Undoubtedly, although under the influence of Confucianism, the Book of Rites and Music has certain value prejudices against the music of Zheng, Song, Wei and Qi, it makes it clear that the idea that music can affect people's minds is a positive contribution to modern music psychology.

Third, the relationship between human character and music. The Book of Rites and Music quotes Shi B as saying, "Those who are broad and quiet, soft and upright should sing "Ode", those who are vast and quiet, sparse and faithful should sing "Daya", those who are frugal and courteous should sing "Xiaoya", those who are upright and quiet, incorruptible and humble should sing "Wind", those who are straight and loving should sing "Shang", and those who are gentle and can judge should sing "Qi". It can be seen from this that the Book of Rites and Music divides people's character into six different types, and people of different characters are suitable for singing different music, that is, those who are generous, calm, soft, and upright are suitable for singing "Ode"; those who are broad-minded, open-minded, and honest are suitable for singing "Daya"; those who are courteous and courteous are suitable for singing "Xiaoya"; those who are upright, incorruptible, and humble are suitable for singing "Wind"; those who are frank and loving are suitable for singing "Shang"; and those who are gentle and decisive are suitable for singing "Qi". Of course, different music can also affect people's character. "The old merchant, the voice of the Five Emperors also." Merchants know it, so it is called business. Qi, the legacy of the three generations, Qi people know it, so it is called Qi. Those who know the sound of the business are repeatedly broken when they are in trouble, and those who are aware of the sound of qi will let go of the benefits. Courageous and courageous in the face of events; let go of profit in the face of profit, righteousness also. There is courage and righteousness, and who can protect this? It can be seen that decisiveness, bravery, humility, righteousness, etc. are all character of a person. The different music of Shang and Qi influenced the character of different people in the two places, either decisive and brave, or humble and righteous. It should be said that the organic connection between human emotions, hearts and characters and music, and the giving of musical psychological aesthetic value meaning, are innovative contributions in the history of Chinese music psychology.

About the political psychological value dimension of music

The Book of Rites and Music was deeply influenced by the Confucian culture of the pre-Qin period, and its psychological orientation of expounding music theory was deeply branded by the times. In the face of the collapse of the Zhou Dynasty and the chaos of the Spring and Autumn Warring States, the Book of Rites and Music positioned the spiritual value and social function of music, that is, with indoctrination as the core concept, advocating the ethical significance and social value of music, and exploring the establishment and maintenance of a social order with Confucianism as the main purpose.

First, the ethical orientation of music. Ethics is the principle of human morality, which refers to various moral principles for people to get along with each other. The Book of Rites and Music states that "the book of rites must not be removed." "Musicians, ethicists also". This shows that the true essence of music is "liturgical music". "The musician, the sum of heaven and earth, the liturgist, the order of heaven and earth." "Be clear in heaven and earth, and then be able to rejoice in music." The premise for achieving "liturgical music" is to understand ethics. On the one hand, reverence for Heavenly Reason. When people feel things and move, they should restrain their psychological emotions such as temperament, desire, and likes and dislikes in accordance with the requirements of Heavenly Reason, such as "you cannot regurgitate, and Heavenly Reason is destroyed." On the other hand, follow the principle of pre-king music. The "Formula of The First King's Happiness" lies in the fact that, just like the formulation of the Ya and Odes, it makes people happy without debauchery, makes its words righteous without suffocating, makes its tune touch people's good hearts without debauchery and evil, and at the same time makes fathers and sons and kings settle down and live in harmony. If you follow the "way of the first king, the liturgy can be described as grand." ”

Second, the interactive relationship between virtue and music. "Etiquette and Music" takes the pursuit of virtue as the criterion for evaluating the quality of music. First, virtue is the cornerstone of music. "The end of virtue is also. Musician Toku no Kaya. "Poetry, singing, and dancing" are all in the heart, and then the music is from it. It is deep and civilized, and the spirit is full of spirit and god." Second, the quality of virtue is used as the criterion for rewarding and evaluating liturgy. Yao's "Great Chapter", the Yellow Emperor's "Xianchi", Shun's "Shao", and Yu's "Xia" can become the classics of Li le because they have a virtuous character. "Therefore the Son of Heaven is happy, and the virtuous one who rewards the princes is also." Finally, "Deyin" is "happy". In terms of the relationship between music, music and virtue, the Book of Rites and Music believes that "the musician is similar to the sound but different" and "the virtue of the music is music". This shows that "sound" and "music" are similar and different, and only "deyin" can be called "music". Only when the world takes the father and son as the discipline, and then the six laws, and the five voices, and the strings and poems, can there be "moral tone" and music. That is to say, when people have a real moral heart, music in the form of poetry, chanting, and dancing can really be born.

Third, the "ritual" political psychology of music. Reading the Book of Rites and Music throughout, we can find that the values of its music have obvious political and psychological tendencies. The purpose of the musical outlook proposed in the Book of Rites and Music is to illustrate the optimism of etiquette. The purpose of this ceremonial optimism is to pursue the realization and maintenance of social harmony and order through value care and practice behaviors such as ethics, harmony, and etiquette. It emphasizes that "he who knows the sound but does not know the sound, the beast is also, and the one who knows the sound but does not know the music, the multitude is also." Only the gentleman is able to know the music", "the palace is the king, the merchant is the subject, the horn is for the people, the levy is the matter, the feather is the object", and the concept of the pre-king system of music, which obviously has the idea of "etiquette" with social hierarchy, and has a distinct psychological value tendency to tie "music" to the car of "etiquette". It is in this sense that the Records of History and the Book of Han unfold their evaluations of the Book of Rites and Records of Music.

Although the music psychology ideas of Li Ji Le Ji have certain limitations due to the influence of historical times and understandings, their ideological connotation and value orientation will still become a brilliant guide for the development of contemporary Chinese music psychology.

(Author Affilications:Faculty of Arts, Shenzhen University; School of Psychology, Shenzhen University)

Editor: Liu Yan