??? ??? ?? - ïú¿µ? ¡¸Â•Ÿo°§˜·Õ“¡¹? ???? (On the Relationship between Music and Emotion in Xi Kang¡¯s Essay ¡°Sound Has Neither Sorrow nor Joy¡± ( Sheng wu ai le lun ))

??? κ•x ÐþŒWÕß? ïú¿µ(224-263, ?? 223-262)? ???? ??? ??? ? ¡º¶YÓ›¡»¡¸˜·Ó›¡¹? ???? ?? ???? ??-?? ??? ????. ???? ?? ?? ?? ??? ??, ??? ???? ??? ??. ??? ???? ?? ?? ? ?? ???? ??? ???? ???? ?? ???? ???? ?? ??? ?? ? ??. ??? ???? ??? ???? ?? ???? ??? ??? ÇÙ? ??? ?? ???? ?? ??? ?? ??? ??? ???? ??? ??? ?????, ??? ?? ??? ???? ?? ?? ??? ?? ??? ??? ?? ?? ???? ??? ?? ?? ????. ??? ? ?? ??? ?? ??? ??? ??? ?? ????? ??? ??? ???? ??? ??? ????? ???. ??? ????? ???? ??? ???? ?????? ??? ??? ??? ??? ???? ?? ??? ???? ??? ??? ??? ?? ???. ??? ?? ??? ??????????? ?? ???? ???? ??? ?????? ??? ??? ?????? ?? ???? ???? ? ?? ??? ????????? ?? ? ?? ???? ?? ????. ??? ??? ??? ???? ???? ???? ??? ??? ?? ?? ?? ???? ???? ????? ???? ??? ???? ????? ???? ??? ??? ???? ??? ??? ? ?? ?? ?? ?????? ? ? ??. ???? ??? ???? ?? ??? ?? ???? ????? ???? ??? ??? ??? ????? ??? ???? ?????? ???? ??? ? ?? ???? ??, ? ?? ?? ???? ?? ????. ??? ???? ??? ?? ??? ??? ??? ??? ????. ??? ??? ????? ??? ???? ?? ??? ????, ? ?? ??? ÐζøÉÏ? ???? ??? ?, ???? ??? ?? ?? ?? ??? ???? ??? ? ??? ??? ?????? ????. ¡°????¡±? ??? ????? ???? ??? ??? ??? ??? ? ??? ???? ??? ?? ??? ???? ??? ??? ??? ? ??? ?? ???. ??? ??? ?? ??? ?? ?? ?? ?? ?? ???? ?? ? ??? šâ? ?? ? ?? ???? ????. ??? ???? ???? ???? ?? ??? ??? ?? ????? ???? ????.

Xi Kang ïú¿µ(224-263 or 223-262), a scholar belonging to the tradition of the Study of Profound(ÐþŒW) during the Wei-Jin(κ•x) period of China, described the relationship between music and emotion from a different perspective from that of the B o o k o f M u si c (Yue ji ˜·Ó›). Sound has the property of being good or not good to listen to, but it has neither sorrow nor joy. Xi Kang thought that harmonious musical sounds arouse emotions hidden deeply inside an individual¡¯s heart. The ideal instrument for playing harmonious music for Xi Kang was qin (ÇÙ), and qin requires quiet surroundings and a calm mind-set as the sound of qin is not as loud as other instruments. It is an important characteristic of Xi Kang¡¯s music theory that it noted the importance of the surrounding environment and the mind-set of the player or the listener. In addition, just as one¡¯s feelings change according to the sounds of instruments, Xi Kang believed that the emotions also change in response to the tunes of musical pieces. Xi Kang denied the representation or mimesis of specific emotions through music, but did not deny the affective expression or expression of aesthetic emotions through music. Xi Kang pursued the musical life with a focus on the meaning and performance of and listening to harmonious and peaceful music responding to the musical dynamics, pitch, and tempo without being heavily biased towards any particular emotions. Music can be regarded as the process of empowering the individual to make changes in a positive way by moving one¡¯s sentiments using beautiful and harmonious sounds. Music safely guides one to take out emotions hidden inside, retrospect on them, and ultimately resolve them. The reason why people are touched by music is that music arouses the ¡°fatalistic¡± deep sorrow within them but at the same time offers life, freedom and deep pleasure that help overcome or accept such emotions serenely. The harmonious emotion one reaches through this process is the musical emotion that accords with nature and dao µÀ. Xi Kang claims that the harmony and deep pleasure of the mind is expressed through music, and the sound of such music cultivates peaceful and harmonious spirit due to its embodiment of li Àí(fundamental principle and texture) and harmonious qi šâ. The phrase ¡°sound has neither sorrow nor joy¡± ( s h e n g w u ai l e •Ÿo°§˜·) says that specific, binary emotions cannot be represented by sound and music, but it does not mean that the deep and profound pleasure cannot be expressed through music. What Xi Kang emphasized was the musical emotion that one cannot see through one¡¯s eyes but can listen to through one¡¯s ears, and mind, and then finally by one¡¯s qi šâ. This kind of emotion is a fundamentally virtuous emotion that is delicate and warm, and is capable of bringing consolation to the fatigued heart.