Please use this identifier to cite or link to this item:
http://hdl.handle.net/20.500.11861/7019| DC Field | Value | Language |
|---|---|---|
| dc.contributor.author | 陳允鋒教授 | en_US |
| dc.date.accessioned | 2022-04-09T08:41:19Z | - |
| dc.date.available | 2022-04-09T08:41:19Z | - |
| dc.date.issued | 1994 | - |
| dc.identifier.citation | 中央音樂學院學報, 1994, 第3期. | en_US |
| dc.identifier.issn | 1001-9871 | - |
| dc.identifier.uri | http://hdl.handle.net/20.500.11861/7019 | - |
| dc.description.abstract | 嵇康音乐审美主体观发微陈允锋引言嵇康《声无哀乐论》（以下简称《声论》）在中国古代美学思想史上的重要理论贡献之一，就是比较深刻地阐明了音乐艺术的特殊审美规律。他既赋予音乐艺术以绝对独立的品格，又突出地强调了音乐审美主体的地位和作用。这些观念，对魏晋以后... | en_US |
| dc.language.iso | zh_CN | en_US |
| dc.relation.ispartof | 中央音樂學院學報 | en_US |
| dc.title | 嵇康音樂審美主體觀發微 | en_US |
| dc.type | Peer Reviewed Journal Article | en_US |
| item.fulltext | No Fulltext | - |
| crisitem.author.dept | Department of Chinese Language and Literature | - |
| Appears in Collections: | Chinese Language & Literature - Publication | |
Items in DSpace are protected by copyright, with all rights reserved, unless otherwise indicated.