Last update: Oct. 28, 2018
酒神与太阳神是希腊神话里的概念，后因尼采的《悲剧的诞生》而广为人知。关于酒神和太阳神的通俗解释参见如何理解尼采《悲剧的诞生》中日神和酒神象征的两种不同的艺术冲动。在这篇文章里，我们把酒神的概念应用在音乐上来描述这样一类音乐：参与者和演奏者完全沉醉在演奏本身中，他们忘记过去、未来、以及其他一切与此时此刻无关的事，每一个人都在尽情地享受现在，每一个个体都融入到所有人当中，大家不分你我，所有人的快乐就是自己的快乐。这是一种体验至上的极乐，用荣格的语言说，这是Se达到极致的过程。
Apollonian and Dionysian is the concept originated from Greek mythology, which were popularized by Friedrich Nietzsche’s work The Birth of Tragedy. Here, we apply the concept of Dionysian to describe music of this kind: the audience and the players are completely immersed in the performance such that they forget the past, the future, and anything else unrelated to the present moment. Everyone are fully enjoying the present moment and immersed with the rest; the boundary between individuals vanishes such that every one is everyone, and everyone’s happiness is every one’s happiness. This is experience-oriented (rather than goal-oriented) bliss, which in Jungian cognitive functions, is a process that Se achieves its climax.
本文将收集作者认为的酒神音乐并且持续更新。如果有其他与作者定义的酒神音乐有冲突的定义，作者将重新定义酒神音乐；换言之，作者将不以外界定义而以自己的定义为标准。值得一提的是，在欣赏酒神音乐时，欣赏者不能仅仅听音乐，也非常需要看着画面关注演奏现场的一举一动，只有这样才能最好地进入酒神状态。
In this article, the author collects the music he thinks to be of Dionysian music. If there is any other definition of Dionysian music contradicted with author’s definition, the author shall redefine Dionysian music. In another word, the author will use his own definition rather than otherwise. It is worth noting that when enjoying Dionysian music, the audience should not just listen to the music, but they also need to look at the scene, trying to immerse themselves into to the play, which is the key of going into the Dionysian states.