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