On Sound

Reconstructing a Zhuangzian Perspective of Music

Dados Bibliográficos

ID20249390
AutoresSo Park (Chinese/Philosophy, Nanyang Technological University, 14 Nanyang Drive, HSS-03-16, Singapore 637332, autor correspondente)
Ano2015
Volume5
Fascículo1
Páginas3
Data de publicação2015-12-28
Peer ReviewedSim
Open AccessSim
TipoARTICLE
PeriódicoHumanities (JOURNAL)
Identificadores do periódicoISSN: 2076-0787 • E-ISSN: 2076-0787
EditoraMDPI AG (PUBLISHER • IT)
DOI10.3390/h5010003
OpenAlexW2213731979
IdiomaEN
Citações recebidas1
Referências 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

Ferramentas

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