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On The Meta-category Of Chinese Music Aesthetics [Kõva köide]

Translated by (East China Univ Of Political Science And Law, China), (Shanghai Conservatory Of Music, China)
  • Formaat: Hardback, 452 pages
  • Ilmumisaeg: 14-Jul-2021
  • Kirjastus: World Scientific Publishing Co Pte Ltd
  • ISBN-10: 9811225192
  • ISBN-13: 9789811225192
Teised raamatud teemal:
  • Formaat: Hardback, 452 pages
  • Ilmumisaeg: 14-Jul-2021
  • Kirjastus: World Scientific Publishing Co Pte Ltd
  • ISBN-10: 9811225192
  • ISBN-13: 9789811225192
Teised raamatud teemal:
"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 cleartimeline 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"--
Foreword I ix
Foreword II xv
Chapter 1 Introduction
1(18)
1.1 From the West to China
1(4)
1.2 From History to Category
5(4)
1.3 Category and Theoretical System
9(5)
1.4 Historical Data and Theory
14(1)
1.5 Subject of Chinese Music Aesthetics
15(4)
Chapter 2 Chinese Music Aesthetics In The Context Of Globalization
19(46)
2.1 Music Aesthetics Toward Independence
21(12)
2.2 Music Aesthetics in Sound Scope
33(17)
2.3 Boundaries of Music Aesthetics
50(9)
2.4 Future of Music Aesthetics
59(6)
Chapter 3 Chinese Music Aesthetic Category
65(24)
3.1 Significance of Research
67(3)
3.2 Historical Development
70(4)
3.3 Theoretical Structures
74(5)
3.4 Features
79(2)
3.5 Research Materials
81(3)
3.6 Research Methods
84(5)
Chapter 4 Poetry, Music, And Rites
89(26)
4.1 Poetry: The Basis of Music and Rites
91(5)
4.2 Origins, Features, and Functions of Music
96(4)
4.3 Origins, Features, and Functions of Rites
100(9)
4.4 Development of Relationship Between Rites and Music
109(6)
Chapter 5 Music From Zhong
115(22)
5.1 Zhong
116(6)
5.2 Zhong He
122(3)
5.3 Sound of Zhong
125(3)
5.4 Five Tones
128(9)
Chapter 6 Making Habits And Customs With Music
137(20)
6.1 Music as Human Nature
138(5)
6.2 Changing Habits and Customs
143(5)
6.3 Nothing is Better than Music
148(9)
Chapter 7 Disintegration Of Rites And Music
157(24)
7.1 Duke Zhou, Rites, and Music
157(4)
7.2 Disintegration of Rites
161(4)
7.3 Disintegration of Music
165(16)
Chapter 8 "Grand Music Is Simplified Sound"
181(30)
Lao Zi
8.1 Discussion: "Grand Music is Simplified Sound"
181(5)
8.2 "Grand Music is Simplified Sound" and Taoism
186(6)
8.3 Five Tones are Deafening
192(6)
8.4 "Grand Music is Simplified Sound" and Music
198(5)
8.5 "Grand Music is Simplified Sound" and Others
203(8)
Chapter 9 "Abandon Folk Music" By Confucius
211(34)
9.1 State of Zheng
211(5)
9.2 Poetry in the State of Zheng
216(3)
9.3 Kong Hou
219(2)
9.4 Yin
221(8)
9.5 "Abandon Music of Zheng State"
229(9)
9.6 Rectification of Rites by Confucius
238(7)
Chapter 10 "No Music" Theory
245(28)
Mozi
10.1 The Essence
245(4)
10.2 Source of "No Music"
249(5)
10.3 Music: Inappropriate for Emperors
254(10)
10.4 Music: Inappropriate for People's Benefits
264(9)
Chapter 11 "Music Is Joy" Theory
273(26)
Xun Zi
11.1 Music as Joy
273(3)
11.2 Music is Joy
276(3)
11.3 Music for Cultivation
279(17)
11.4 Change Human Nature into Rites and Ethical Principles
296(3)
Chapter 12 "Natural Music" Theory
299(40)
Zhuang Zi
12.1 Development Based on Lao Zi
300(3)
12.2 Criticism on Rites and Music of Confucius
303(7)
12.3 Mohist Criticism on "No Music"
310(4)
12.4 Inner Mind
314(7)
12.5 Ultimate Joy
321(7)
12.6 Natural Music
328(5)
12.7 Music Fable of Zhuang Zi
333(6)
Chapter 13 "Music Enjoyment With The People" Theory
339(26)
Mencius
13.1 Top Priority
339(2)
13.2 Current Music and Ancient Music
341(17)
13.3 Music Enjoyment with the People
358(7)
Chapter 14 "No Sad Music" Theory
365(30)
Ji Kang
14.1 Confucius Standpoint of Qin Ke
366(5)
14.2 Ji Kang's Argument Based on Taoism
371(14)
14.3 Enjoy Nature and Free of the Restriction of Rites
385(10)
Chapter 15 "Music Is The Language Of The Heavens" Theory
395(20)
Qing Zhu
15.1 Initial Music from the Heavens
396(7)
15.2 The Heavens and Inner World
403(7)
15.3 Modern Transformation of Chinese Music Aesthetics
410(5)
Conclusion 415(10)
Index 425