On the Meta-Category of Chinese Music Aesthetics

This book opens with the emergence and development of the discipline of aesthetics in western countries, specifically the history of Western Music Aesthetics, to study and delve into the development of Chinese Music Aesthetics. The book provides a clear timeline throughout the writing — from the history of Chinese Music Aesthetics, to the construction of a theoretical framework, and the intersections and conversations between Western and Chinese Music Aesthetics. This academic piece is fundamentally consistent with the developing field of Chinese philosophical and literary research.This book also discusses important music aesthetic categories of Confucianism, Taoism, Mohism, and metaphysics, and uses critical thinking to analyse the relationship between these categories and relevant schools of thought, reflecting the author's academic vision and thought process.Contents: Foreword IForeword IIIntroduction:From the West to ChinaFrom History to CategoryCategory and Theoretical SystemHistorical Data and TheorySubject of Chinese Music AestheticsChinese Music Aesthetics in the Context of Globalization:Music Aesthetics Towards IndependenceMusic Aesthetics in Sound ScopeBoundaries of Music AestheticsFuture of Music AestheticsChinese Music Aesthetic Category:Significance of ResearchHistorical DevelopmentTheoretical StructuresFeaturesResearch MaterialsResearch MethodsPoetry, Music, and Rites:Poetry: The Basis of Music and RitesOrigins, Features, and Functions of MusicOrigins, Features, and Functions of RitesDevelopment of Relationship Between Rites and MusicMusic from Zhong:ZhongZhong HeSound of ZhongFive TonesMaking Habits and Customs by Music:Music as Human NatureChanging Habits and CustomsNothing is Better than MusicDisintegration of Rites and Music:Duke Zhou, Rites, and MusicDisintegration of RitesDisintegration of Music'Grand Music is Simplified Sound' by Lao Zi:Discussion: 'Grand Music is Simplified Sound''Grand Music is Simplified Sound' and TaoismFive Tones are Deafening'Grand Music is Simplified Sound' and Music'Grand Music is Simplified Sound' and Others'Abandon Folk Music' by Confucius:State of ZhengPoetry in the State of ZhengKong HouYin'Abandon Music of Zheng State'Rectification of Rites by Confucius'No Music' Theory by Mozi:The EssenceSource of 'No Music'Music: Inappropriate for EmperorsMusic: Inappropriate for People's Benefits'Music is Joy' Theory by Xun Zi:Music as JoyMusic is JoyMusic for CultivationChange Human Nature into Rites and Ethical Principles'Natural Music' Theory by Zhuang Zi:Development Based on Lao ZiCriticism on Rites and Music of ConfuciusMohist Criticism on 'No Music'Inner MindUltimate JoyNatural MusicMusic Fable of Zhuang Zi'Music Enjoyment with the People' Theory by Mencius:Top PriorityCurrent Music and Ancient MusicMusic Enjoyment with the People'No Sad Music' Theory by Ji Kang:Confucius Standpoint of Qin KeJi Kang's Argument Based on TaoismEnjoy Nature and Free of the Restriction of Rites'Music is the Language of the Heavens' Theory by Qing Zhu:Initial Music from the HeavensThe Heavens and Inner WorldModern Transformation of Chinese Music AestheticsConclusionIndex
Readership: Undergraduates, graduates, academics, and historians specialised or interested in Chinese history, specifically music history and music aesthetic. Undergraduates, graduates, and academics with an interest in traditional Chinese music. Music Aesthetics;Chinese Culture;Sound Scope;Chinese Music History;Chinese Music;Chinese Rites;Chinese Music Theory0Key Features:Before the formation, development, and maturity of the written language, musical thought and theory were recorded in a relatively complete fashion in the early oral era. An early record from around the world was made in the mid-Han Dynasty. Unfortunately, problems did exist. First, the record by Han documentalists of music thought and theory is quite incomplete, scattered across the Five Classics. Second, Han scribes could no longer give a sufficient and satisfactory account of Chinese musical thought and theory, which resulted in distortions from time to time. Third, the record of musical thought and theory lacks sound, making it difficult to answer some questions. Music has no boundary; the problems in China exist in other countries as well. It is thus necessary to do research on musical thought and theories in light of globalisationThis book is an excellent demonstration of the accomplished research in the field of Chinese Music Aesthetics and its theoretical system by the efforts of a number of scholars