Relevant bibliographies by topics / Daoist music

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  2. Dissertations / Theses
  3. Books
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Academic literature on the topic 'Daoist music'

Author: Grafiati
Published: 12 March 2024
Last updated: 31 July 2025

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Journal articles on the topic "Daoist music"

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Kong, Xiaosi, and Jiarong Wu. "An Analysis of the Origins and Connotations of Daoist Music." Scientific Journal Of Humanities and Social Sciences 7, no. 8 (2025): 6–13. https://doi.org/10.54691/gmr37y76.

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This paper examines the origins and functions of Daoist music, along with its expressive forms of expression and core content. The primitive Wu religion served as one of the ideological sources of Daoism, and it inherently incorporated musical elements. Meanwhile, Daoism assimilated ancient folk traditions, and the instruments employed in Daoist music gradually diversified over time. Daoist music primarily encompasses ritual music, utilizing a wide array of traditional Chinese instruments—notably the distinctive daoqing and xiaoyin. These practices exhibit pronounced Chinese ethnic characteris
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GUO, JIAWEN, Yudan Wang, Wenwen Zhang, and Yi Huang. "Taoist Reflections in the Performance of the Modern Concerto for Double Bass." International Theory and Practice in Humanities and Social Sciences 2, no. 1 (2025): 146–73. https://doi.org/10.70693/itphss.v2i1.42.

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This paper explores the influence of Daoist thought on the composition and performance of modern double bass concertos. In a cross-cultural context, the double bass has deeply integrated with traditional Chinese philosophy, particularly Daoist thought, giving rise to a series of outstanding works embodying Daoist principles such as “Dao follows nature”, “Wu Wei” (non-action), and “Xu Jing” (emptiness and tranquility). These works either employ new media and techniques to evoke an ethereal and flowing Eastern aesthetic, internalize Daoist thinking in their generative logic to imbue the music wi
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고은강. "Transnational Construction of Daoist Music: Creating Contexts, Constructing Identity." Journal of East Aisan Cultures ll, no. 49 (2011): 257–90. http://dx.doi.org/10.16959/jeachy..49.201105.257.

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Kreis, Guido. "Xunzi and Zhuangzi on Music: Two Ways of Modeling the Ethical Significance of Art." Journal of Chinese Philosophy 50, no. 1 (2023): 64–80. http://dx.doi.org/10.1163/15406253-12340090.

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Abstract This paper analyses two early Chinese ways of modeling the ethical significance of art using music as an example. I shall focus on the Xunzi 《荀子》 as a paradigmatic statement of Confucian views, and selected passages from the Zhuangzi 《莊子》 as an exemplary manifestation of Daoist aesthetics. I argue that the Xunzi opts for a direct ethical impact of music, while it does not rely on an independent aesthetic conception of the goodness of music. By contrast, I argue that the Zhuangzi discusses music on the grounds of an independent aesthetic conception of its goodness, while music can only
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Lu and Tan. "On the Usefulness of Nothingness: A Daoist-Inspired Philosophy of Music Education." Philosophy of Music Education Review 29, no. 1 (2021): 88. http://dx.doi.org/10.2979/philmusieducrevi.29.1.06.

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Cheung, Joys H. Y. "Riding the Wind With Mozart’s ‘Jupiter’ Symphony: The Kantian and Daoist Sublimes in Chinese Musical Modernity." Music and Letters 96, no. 4 (2015): 534–63. http://dx.doi.org/10.1093/ml/gcv103.

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Naparstek, Michael E. "What’s the Matter with You, Rock?!: What the Study of Daoism Can Say about Religious Images." Method & Theory in the Study of Religion 37, no. 2 (2025): 196–214. https://doi.org/10.1163/15700682-bja10142.

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Abstract This essay is about the trouble we scholars have with addressing religious images and object agency. It introduces one moment in a Daoist ritual to suggest alternative models for thinking about what images do. To do so, it intentionally looks outside scholarly discourse and to the music of Nina Simone to frame Religious Studies’ concern over Idol Anxiety as a way to circumvent the limits of what we can and cannot say about images. By reframing the paradigm of what images mean into the emic imperative of what images do, we avail ourselves to untapped models and vocabularies to address
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Poškaitė, Loreta. "Everyday Aesthetics in the Dialogue of Chinese and Western Aesthetic Sensibilities." Dialogue and Universalism 30, no. 3 (2020): 225–44. http://dx.doi.org/10.5840/du202030344.

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The paper examines the intercultural dimension of everyday aesthetics which was promoted by one of its most important Chinese proponents Liu Yuedi as a search for dialogue between various aesthetic traditions, in particular, those from the East and West. The aim of the paper is to explore some parallels between the traditional Chinese and contemporary Western aesthetic sensibilities, by looking for their common values and concepts which are gaining prominence in the discourse of everyday aesthetics. It begins with a survey of the contributions of Chinese and Western scholars; the survey concer
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Semenenko, Ivan Ivanovich. "“Fu on Whistling” by the Chinese poet Chenggong Sui (231-273)." Philology. Theory & Practice 17, no. 9 (2024): 3134–45. http://dx.doi.org/10.30853/phil20240444.

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The research aims to determine the main features of the poetics and musical-aesthetic concept of the “Fu on Whistling” by Chenggong Sui, a renowned Chinese poet of the 3rd century CE. This work, considered a classic among Chinese fu on music, is the first and most in-depth exploration of the philosophy of artistic whistling, which played a significant role in classical Chinese culture and literature. The paper examines Chenggong Sui’s biography and literary legacy, provides a categorized translation of the fu with introductory omments and textual annotations, analyzes its poetics in comparison
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Liu, Yonghua. "Daoist Priests and Imperial Sacrifices in Late Imperial China: The Case of the Imperial Music Office (Shenye Guan), 1379–1743." Late Imperial China 33, no. 1 (2012): 55–88. http://dx.doi.org/10.1353/late.2012.0001.

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Dissertations / Theses on the topic "Daoist music"

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Chen, Leyun. "La musique taoïste au Zhejiang : en relation avec la musique bouddhique." Electronic Thesis or Diss., Sorbonne université, 2023. http://www.theses.fr/2023SORUL124.

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Ce travail s’intéresse à la musique taoïste de l’obédience Zhengyi au Zhejiang, en mettant un accent particulier sur sa relation avec la musique bouddhique. L’étude vise à analyser et à comparer les pièces musicales taoïstes et bouddhiques afin de trouver les traits distinctifs qui caractérisent chacune d’elles, mettant en lumière les rapports et interrelations qui se sont établies entre elles en un lieu et un temps précis - une perspective largement négligée dans les études antérieures. Ajoutant une nouvelle dimension à cette étude, ce travail s’attarde également sur le changement du statut p
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Stulman, Timothy A. "A Cultural Analysis of Chen Yi's Si Ji (Four Seasons) For Orchestra." Bowling Green State University / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1276884003.

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林金德. "Ritual Music for Commemorating the Daoism Immortal Lu Dongbin’s Birth in Zhennan Xiengong Temple in Fongshan of Kaohsiung,Taiwan." Thesis, 2008. http://ndltd.ncl.edu.tw/handle/18825004788963426504.

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碩士<br>國立臺南藝術大學<br>民族音樂學研究所<br>96<br>The sacrificial ritual music in traditional folk belief temples is generally called shenyue(sacred music) in Southern Taiwan. It is one of religious ritual music, a unique music system accompanying with musical instruments. In Kaohsiung, it has a long history and heritage in the development. As time goes by, musical instruments and music scores used in early and present days are different. shenyue(sacred music) is an important part in ritual ceremony for deity affairs ; its functions are constructing and purifying ritual space, leading and distinguishing
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Wang, Wan-Chuan, and 王婉娟. "A Practice Of Coufucianism And Daoism In Modern Music Works—A Case Of Chiang Wen-Yeah’s “Confucian Temple Rites”, Isang Yun’s “Reak”,Pan Hwang-Long’s “Harmohy Of The World”." Thesis, 2012. http://ndltd.ncl.edu.tw/handle/kbj6t9.

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碩士<br>國立臺北藝術大學<br>音樂學系碩士在職專班<br>100<br>Abstract The essence of performance in musical aesthetics is different between the Western and East culture. The Asian music of 20th century is in the environment which is led by the West and internationalization. How to combine traditional philosophy and modern creativity is the composers’ ideal. This study starts from the orchestra of modern music, searches the outstanding composition which is put the Eastern traditional culture into action, and discusses the East culture how to effect the modern composition. In the mainstream led by Europe nowadays,
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Books on the topic "Daoist music"

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Fung, C. Victor. Foundations of Classic Daoism. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190234461.003.0004.

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Classic Daoism, led by Laozi (b. ca. 570 BC) and Zhaungzi (369–286 BC), postulates a dao-centric school of philosophy. The author discusses four key principles of dao (the “way” 道‎): wuwei (無為‎take non-egoistic action); (2) guan (觀‎ observation from the perspective of the being observed); (3) qiwu (齊物‎ equality); and (4) rou (柔‎ soft and flexible). To apply these principles in music education, learners would learn in their most natural ways; music, musicians, and learners would be understood from their own vantage points; all perspectives would be treated equally; and educators would be so fle
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Fung, C. Victor. Complementary Bipolar Continua in Music Education. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190234461.003.0005.

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Classic Confucianism and classic Daoism were inspired by Yijing and were established during a period of nihilism. Both philosophical schools value human lives, expect individuals to improve continuously by self-cultivation, and recognize the world as a living organism. Despite their different emphases of dao, they are compatible to a great extent. For most people, it is necessary to utilize the different emphases to maintain a healthy diet, much like eating different types of food at different times of the day. Based on principles of yin and yang, the author proposes four complementary bipolar
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Fung, C. Victor. Introduction. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190234461.003.0001.

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This chapter provides rationales for a philosophy of music education based on classic Chinese philosophies. The philosophy contributes to an array of ways of thinking in music education and emphasizes the quintessence of the human spirit that transcends time and space. The author points to the significance of early Chinese philosophies as postulated in Yijing (The Book of Changes), classic Confucianism (represented by ideologies of Confucius and Mencius), and classic Daoism (represented by ideologies of Laozi and Zhuangzi). Understanding these early classics is critical to understand a charact
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Fung, Victor. A Way of Music Education. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190234461.001.0001.

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A Way of Music Education: Classic Chinese Wisdoms presents a philosophy of music education rooted in Yijing (I-Ching or The Book of Changes), classic Confucianism, and classic Daoism, which matured in the mid-sixth to mid-third century BC China (pre-Qin period). This philosophy puts the human at the center of an organismic world, in which all matters and events are connected, be they musical or non-musical. It is human-centric and dao-centric. Music educational experiences are key attributes to musical well-being throughout one’s lifetime. Concepts of yin and yang, deep harmony, and the teachi
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Fung, C. Victor. Foundations of Yijing. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190234461.003.0002.

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Yijing lays a foundation for classic Confucianism and classic Daoism. It presents the central concepts of yin and yang, an organismic worldview, change, unchanging principles, easy concepts, and simple operations. Humans are at the center in observing the universe, trying to understand it, to avoid adversity, and to promote prosperity. The author presents the phenomena of music and music education as explained by concepts found in Yijing. The yin and yang dyad can be applied to musical and music educational settings to explain musical motions, musical roles of individuals, and the natures of t
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Fung, C. Victor. A Way of Music Education as a Way of Life. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190234461.003.0009.

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This chapter recaps the idea that a triad of classic Chinese sources (Yijing, classic Confucianism, and classic Daoism) forms the basis of a philosophy of music education, which is presented as a trilogy (change, balance, and liberation). It highlights the importance of persistent improvement and iterates that the human spirit is at the center of this philosophy. While the classic wisdoms are ancient, the human spirit transcends time and space. The human spirit is preserved regardless of the changes that occur in the society, culture, or everyday materials, and it is bestowed in music and musi
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Saussy, Haun. Translation as Citation. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198812531.001.0001.

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Translation as Citation denies that translating amounts to the composition, in one language, of statements equivalent to statements previously made in another. Rather, translation works with elements of the language and culture in which it arrives, often reconfiguring them irreversibly: it creates, with a fine disregard for precedent, loan words, calques, forced metaphors, forged pasts, imaginary relationships, and dialogues of the dead. Creativity, in this form of writing usually considered merely reproductive, is the subject of this book. When the first proponents of Buddhism arrived in Chin
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Book chapters on the topic "Daoist music"

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So, Ming-chuen Allison. "Ritual and Non-ritual Daoist Music at Fung Ying Seen Koon: Their Role, Transmission, Sustainability and Challenges in Hong Kong." In Traditional Musics in the Modern World: Transmission, Evolution, and Challenges. Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-91599-9_14.

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"Daoist Ritual Music." In Daoism Handbook. BRILL, 2000. http://dx.doi.org/10.1163/9789004391840_026.

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Kuang, Lanlan. "(Un)consciousness? Music in the Daoist context of nonbeing." In Music and Consciousness 2. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198804352.003.0018.

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This chapter explores the interpretation of music as a philosophical concept within the context of Chinese aesthetics. A particular focus is the Daoist connection of music with psychological concepts such as consciousness, the experience of time, and the emergence of memory in space and time. The human body, regarded as both physical and spiritual, is an integral element of Daoism, which offers a route to understanding consciousness as coterminous with being and nonbeing, and to linking the latter to music. In the Daoist tradition nonbeing, in musical time, brings forth dynamic and temporal co
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Fung, C. Victor. "Ways of Caring in Music Education Through the Lens of Classic Confucianism and Classic Daoism." In The Oxford Handbook of Care in Music Education. Oxford University Press, 2023. http://dx.doi.org/10.1093/oxfordhb/9780197611654.013.14.

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Abstract Classic principles of Confucianism and Daoism are ubiquitous and have been intertwined with many people’s lives for two and a half millennia. There are striking parallels between their metaphysical principles and the act of caring in education. This chapter focuses on contemporary ways of cultivating care in music education through the lens of these philosophical schools. Core Confucian principles of sincerity, kindness, benevolence, and being an exemplary person and core Daoist principles of non-egoistic action, observation, equality, and flexibility work side-by-side in a complement
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Lu, Mengchen, and Leonard Tan. "On Daoist Philosophies of Music." In The Oxford Handbook of Asian Philosophies in Music Education. Oxford University Press, 2024. http://dx.doi.org/10.1093/oxfordhb/9780190621681.013.6.

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Abstract In this chapter, the authors draw on the ideas of Laozi and Zhuangzi to examine Daoist philosophies of music. In particular, the authors discuss the following musical themes: (1) “The Five Tones Deafen Humans’ Ears” (wuyin lingren erlong 五音令人耳聾), (2) “The Great Note Is Rarified Sound” (dayin xisheng 大音希聲), (3) “Harmony of Refined Notes and Raw Sounds” (yinsheng xianghe 音聲相和), and (4) “The Three Pipings” (sanlai 三籟). Next, the authors propose their implications for music education, highlighting in particular how Daoist philosophies of music are exemplified in the musical practice of th
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Dean, Kenneth. "A Theory of Ritual Polyphony in Chinese Religious Performances." In Religious Sounds Beyond the Global North. Amsterdam University Press, 2024. https://doi.org/10.5117/9789463726269_ch14.

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This chapter articulates a theory of ritual polyphony in Chinese religions. The first and second sections explore the role of sound and embodiment in early Chinese discussions of music and dance and the rhythmic movements of the cosmos. The third section introduces Chinese medieval Daoist discussions of the cosmic whistling of Daoist recluses, and the role of cosmogenic sonic energies embedded within Sanskrit syllables and spells within Daoist scriptures and liturgy. The final section opens up a larger perspective on sonic forces in contemporary local communal ritual events in Southeast China
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Hansen, Chad. "The Context of Chinese Philosophy: Language and Theory of Language." In A Daoist Theory of Chinese Thought. Oxford University PressNew York, NY, 2000. http://dx.doi.org/10.1093/oso/9780195134193.003.0002.

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Abstract I do not suppose that language is the only explanation of features of philosophical thought. I have heard plausible, suggestive accounts of how geography, for example, might contribute to a culture’s having a certain broad philosophical direction. I am a philosopher of language, and neither a geographer nor a historian, so I cannot vouch for the accuracy of these suggestive accounts. But they can serve to give us some general sense of the context in which philosophy played its role in Chinese culture. One obviously significant feature of Chinese geography-a physical barrierexplains th
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"The Poetess And The Precept Master: A Selection Of Daoist Poems By Gu Taiqing." In Text, Performance, and Gender in Chinese Literature and Music. BRILL, 2010. http://dx.doi.org/10.1163/ej.9789004179066.i-468.67.

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Kohn, Livia. "Western Adaptations." In The Daode Jing. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190689810.003.0013.

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These and many other translations of the Daode jing have made the text widely accessible to Western audiences, leading to a widespread and diverse adaptation. There are visions of Daoist leadership that extol the goodness of the sage and interpret the ancient ideals of nonaction, self-being, softness, and sufficiency in terms of executive excellence. In a wider dimension, the text has also inspired visions of environmental responsibility and was connected to concepts and practices of Deep Ecology. On a more mundane level, there are now works that extol “the Tao of” practically everything, from
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Yip, Mingmei. "Qin." In The Oxford Handbook of Asian Philosophies in Music Education. Oxford University Press, 2024. http://dx.doi.org/10.1093/oxfordhb/9780190621681.013.5.

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Abstract The phrase qindao (琴道: Way of the qin) denotes both the method of playing the instrument and the philosophy it embodies. The Dao means both the method and ultimate reality. In this chapter, the author discusses the philosophy of Daoism and how Daoists play the qin, or guqin, as a means to nurture life and relax into harmony. Thus, beyond making music, the qin was considered a means of attaining a transcendent state of clarity, of harmony with the Dao. With the recent surge in popularity of the qin, conservatory training has introduced a different style of teaching and playing. In cont
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Reports on the topic "Daoist music"

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Pasupuleti, Murali Krishna. Decentralized Creativity: AI-Infused Blockchain for Secure and Transparent Digital Innovation. National Education Services, 2025. https://doi.org/10.62311/nesx/rrvi125.

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Abstract The convergence of artificial intelligence (AI) and blockchain technology is transforming the creative economy by enabling secure, transparent, and decentralized innovation in digital content creation, intellectual property management, and monetization. Traditional creative industries are often constrained by centralized platforms, opaque copyright enforcement, and unfair revenue distribution, which limit the autonomy and financial benefits of creators. By leveraging blockchain’s immutable ledger, smart contracts, and non-fungible tokens (NFTs), digital assets can be authenticated, to
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