On Sound

Reconstructing a Zhuangzian Perspective of Music

Datos Bibliográficos

ID20249390
AutoresSo Park (Chinese/Philosophy, Nanyang Technological University, 14 Nanyang Drive, HSS-03-16, Singapore 637332, autor de correspondencia)
Año2015
Volumen5
Número1
Páginas3
Fecha de publicación2015-12-28
Peer ReviewedSí
Open AccessSí
TipoARTICLE
RevistaHumanities (JOURNAL)
Identificadores de la revistaISSN: 2076-0787 • E-ISSN: 2076-0787
EditorialMDPI AG (PUBLISHER • IT)
DOI10.3390/h5010003
OpenAlexW2213731979
IdiomaEN
Citas recibidas1
Referencias citadas6

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

Acoustics · Aesthetics · Art · Consummation · Literature · Mainstream · Music and emotion · Music education · Music history · Musical · Natural (archaeology) · Perspective (graphical) · Philosophy of music · Sound (geography) · Visual arts · Chinese history and philosophy · History · Music · Philosophy

Herramientas

Abrir DOISci-HubOpen Access