On Sound: Reconstructing a Zhuangzian Perspective of Music

A devotion to music in Chinese classical texts is worth noticing. Early Chinese thinkers saw music as a significant part of human experience and a core practice for philosophy. While Confucian endorsement of ritual and music has been discussed in the field, Daoist understanding of music was hardly e...
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Autor*in:	So Jeong Park [verfasserIn]

Format:	E-Artikel
Sprache:	Englisch

Erschienen:	2015

Schlagwörter:	music sound philosophy ritual and music Zhuangzi Xiánchí music

Übergeordnetes Werk:	In: Humanities - MDPI AG, 2012, 5(2015), 1, p 3
Übergeordnetes Werk:	volume:5 ; year:2015 ; number:1, p 3

Links:	Link aufrufen Link aufrufen Link aufrufen Journal toc

DOI / URN:	10.3390/h5010003

Katalog-ID:	DOAJ039863050

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author	So Jeong Park
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topic_title	AZ20-999 On Sound: Reconstructing a Zhuangzian Perspective of Music music sound philosophy ritual and music Zhuangzi Xiánchí music
topic	misc AZ20-999 misc music misc sound misc philosophy misc ritual and music misc Zhuangzi misc Xiánchí music misc History of scholarship and learning. The humanities
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title	On Sound: Reconstructing a Zhuangzian Perspective of Music
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title_sort	on sound: reconstructing a zhuangzian perspective of music
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title_auth	On Sound: Reconstructing a Zhuangzian Perspective of Music
abstract	A devotion to music in Chinese classical texts is worth noticing. Early Chinese thinkers saw music as a significant part of human experience and a core practice for philosophy. While Confucian endorsement of ritual and music has been discussed in the field, Daoist understanding of music was hardly explored. This paper will make a careful reading of the Xiánchí 咸池 music story in the Zhuangzi, one of the most interesting, but least noticed texts, and reconstruct a Zhuangzian perspective from it. While sounds had been regarded as mere building blocks of music and thus depreciated in the hierarchical understanding of music in the mainstream discourse of early China, sound is the alpha and omega of music in the Zhuangzian perspective. All kinds of sounds, both human and natural, are invited into musical discourse. Sound is regarded as the real source of our being moved by music, and therefore, musical consummation is depicted as embodiment through sound.
abstractGer	A devotion to music in Chinese classical texts is worth noticing. Early Chinese thinkers saw music as a significant part of human experience and a core practice for philosophy. While Confucian endorsement of ritual and music has been discussed in the field, Daoist understanding of music was hardly explored. This paper will make a careful reading of the Xiánchí 咸池 music story in the Zhuangzi, one of the most interesting, but least noticed texts, and reconstruct a Zhuangzian perspective from it. While sounds had been regarded as mere building blocks of music and thus depreciated in the hierarchical understanding of music in the mainstream discourse of early China, sound is the alpha and omega of music in the Zhuangzian perspective. All kinds of sounds, both human and natural, are invited into musical discourse. Sound is regarded as the real source of our being moved by music, and therefore, musical consummation is depicted as embodiment through sound.
abstract_unstemmed	A devotion to music in Chinese classical texts is worth noticing. Early Chinese thinkers saw music as a significant part of human experience and a core practice for philosophy. While Confucian endorsement of ritual and music has been discussed in the field, Daoist understanding of music was hardly explored. This paper will make a careful reading of the Xiánchí 咸池 music story in the Zhuangzi, one of the most interesting, but least noticed texts, and reconstruct a Zhuangzian perspective from it. While sounds had been regarded as mere building blocks of music and thus depreciated in the hierarchical understanding of music in the mainstream discourse of early China, sound is the alpha and omega of music in the Zhuangzian perspective. All kinds of sounds, both human and natural, are invited into musical discourse. Sound is regarded as the real source of our being moved by music, and therefore, musical consummation is depicted as embodiment through sound.
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