蟋蟀的鸣声作为农桑文明中入秋的风物,既被人们作为一种客观的声音用以描写秋时景致,又被寄寓人文情怀以抒发内心的离愁,并在传统文化中渐具悲吟的形象引发闻者的同情。然而,这种同情是一种音色聆听的结果,被诗人们形容为“悲咽”的蛩声不是来自蟋蟀的哀愁,而是因蟋蟀有体可察的独特发声器;其音色中的枯涩也不是长鸣之后所呈现的声嘶力竭的疲态,而是气温变化所导致刮奏角度的细微差异。蟋蟀的歌这种单一品格的声音,在中国传统文化的人文化过程中,实际上是一种主观听感之于物理音声的本然之间的人文化过程,“听觉攀附”就是指这种与声音事实的相悖的聆听经验。 Cricket song as the Nong Sang civilization into the autumn scenery, both as an objective voice as a description of autumn scenery, but also be placed in human sentiment to express their inner sadness, and in the traditional culture gradually sad song The image of aroused the sympathy of the scholar. However, this kind of sympathy is the result of a timbre, which is described by poets as “sad and swallowed”, not from the grief of crickets but from the unique sounder that the cricket observes; Kusanoki is not the loud, hoarseness of fatigue after the longing, but the subtle difference in the angle of the beating caused by the temperature change. The singular character of the song of cricket is actually a kind of humanized process of subjective sense of the essence of physical sound in the cultural process of Chinese traditional culture. This kind of listening experience is contrary to the fact of sound.