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Journal articles on the topic 'Daoist music'

Author: Grafiati

Published: 12 March 2024

Last updated: 31 July 2025

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1

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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2

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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3

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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4

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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5

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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6

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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7

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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8

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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9

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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10

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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11

Ho, I.-Lien. "Poem without Language: When a Writing Becomes Traceless." Leonardo 51, no. 1 (2018): 55–56. http://dx.doi.org/10.1162/leon_a_01551.

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What happens when a writing cannot perform its function of documentation and indication? In the installation performance Poem without Language, developed from the action score writing Chinese calligraphy on the surface of water, the multiple closed-circuit videos raise the question of “who” can occupy the position of the observer, challenging tunnel-vision perspectivism. Such an orchestra of gazes resonates with the spatial organization in Chinese ink landscape painting, which challenges the anthropocentric ordering of things; responds to Nam June Paik’s approach to media, which disrupts the h

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12

Devito, A. M. "Sonic Sentimentality and the Unification of the Listening Space: Exploring the intersections of oral history and sonic art." Organised Sound 26, no. 2 (2021): 275–83. http://dx.doi.org/10.1017/s1355771821000315.

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This article aims to explore how the theoretical and pedagogical intersections of sonic art and creative oral history may work together to enhance the public response of socially engaged, interdisciplinary artwork. The main topics of discussion will include Panos Amelides’s paper ‘Acousmatic Storytelling’, the socio theoretical approach suggested by Salome Voegelin in her paper ‘Sonic Memory Material as “Pathetic Trigger”’, the behavioral study from the oral history sound installation by Dr Luis Sotelo Castro called Not Being Able to Speak is Torture, and the Deep Listening and Sonic Meditatio

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13

Wong, Kin Yuen. "The Melodic Landscape: Chinese Mountains in Painting-Poetry and Deleuze/Guattari's Refrains." Deleuze Studies 7, no. 3 (2013): 360–76. http://dx.doi.org/10.3366/dls.2013.0117.

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By melodic landscape, this paper points to natural milieus such as mountains whose motifs are caught up in contrapuntal relations. With Merleau-Ponty, the structure of the world is a symphony, and the production of life which implicates both organism and environment as unfurling of Umwelt is ‘a melody that sings itself’. For the Chinese culture, mountains have been deemed virtuous in Confucianism, immortal by Daoists, and spiritual for a Buddhist to reach a substrate level of pure stream of a-subjective consciousness. A Chinese painter-poet within the ‘mountain-water’ genre would consider moun

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14

Hina, Gajera, and Govind Dhinaiya Dr. "Decentralized Intellectual Property (DE-IP): A New Era of Digital Rights Management." International Journal of Advance and Applied Research S6, no. 13 (2025): 80–85. https://doi.org/10.5281/zenodo.14912840.

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<em>The emergence of blockchain technology has established a novel framework for managing intellectual property (IP) rights, referred to as Decentralized Intellectual Property (DE-IP). This article examines DE-IP's capacity to transform digital rights management (DRM) through the utilization of blockchain, smart contracts, and decentralized autonomous organizations (DAOs). It analyzes the applications, advantages, problems, and legal ramifications of DE-IP, especially within the domains of art, music, and scientific research. DE-IP guarantees increased transparency, equitable remuneration for

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15

Rire, Morgaine. "Emperor Hundun’s misty music: a Daoist/agential realist account of sound." Sound Studies, October 2024, 1–22. http://dx.doi.org/10.1080/20551940.2024.2408969.

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16

Mao, Qi. "Guqin music therapy to alleviate sleep disturbances in Chinese cancer patients." MODERN APPLIED MEDICAL RESEARCH, January 31, 2022, 26–33. http://dx.doi.org/10.36099/mamr.210422.

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Both in Chinese and in western cancer patients sleep disorders are a frequent and serious complication. The present study used qualitative methods to explore sleep-related benefits of Guqin music therapy in Chinese psycho-oncology and suggests a corresponding theoretical framework which encompasses psychological, neuroscientific and ontological components. In sharp contrast to receptive music therapy which mainly speaks about listening in general, the present study suggests that therapeutic outcomes may considerably depend on individual modes of aesthetic perception. Although some perspectives

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17

Park, So-Jeong. "Korean Aesthetic Ideals: “Jayeon”." Journal of Aesthetics and Art Criticism, July 26, 2022. http://dx.doi.org/10.1093/jaac/kpac028.

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Abstract Korean art and music have a long history, but aesthetic research on them has only been around for a little over a hundred years. Critiques and discourses on traditional arts such as poetry, calligraphy, and painting can be traced back to the Joseon or even Goryeo dynasties, but the modern discussion on the common features of Korean aesthetics was conducted much later than that in Western Europe, where the field of aesthetics was established in the mid to late eighteenth century. Early aestheticists who tried to explain aesthetic consciousness in Korean culture and art converged on the

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18

Baohong (田宝宏), Tian. "Philosophical Thought and Educational Implication of the Ideas of Zhong (中)". ECNU Review of Education, 21 березня 2022, 209653112210859. http://dx.doi.org/10.1177/20965311221085985.

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Highlights The ideas of Zhong (中) have profound cultural implications beyond the Chinese character of Zhong (中) in traditional Chinese culture. This study explores the philosophical significance of Zhong for education. This study is based on the textual research of the original meanings of Zhong, its wisdom, and explanations of Zhong philosophies in Chinese rites and music culture as well as various schools of thought, including Yi-ology, Confucianism, and Daoism. Zhong has significant influence on the ancient Chinese concept of education, and its views on the field of education coincide with

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19

Zongli, Lu. "Chen-Wei Texts." Database of Religious History, June 27, 2024. https://doi.org/10.5281/zenodo.12573285.

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The Chen-Wei Texts, or "prophetic-apocryphal" texts, refer to a corpus of religious texts that prevailed from the 1st to the 7th century C.E. in China. Chen 讖, meaning subtle and fulfilled prophecy, represents a number of esoteric writings, such as the Hetu 河圖"Diagram of the Yellow River" and Luoshu 洛書 "Script of the Luo River." An early appearance of Hetu in pre-Qin texts was described as precious stone or treasurable book. No later than the Warring States period, Hetu and Luoshu were commonly regarded as auspicious portents, in the form of texts with diagrams recording divination and prophec

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20

Kuang, Lanlan. "Staging the Silk Road Journey Abroad: The Case of Dunhuang Performative Arts." M/C Journal 19, no. 5 (2016). http://dx.doi.org/10.5204/mcj.1155.

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The curtain rose. The howling of desert wind filled the performance hall in the Shanghai Grand Theatre. Into the center stage, where a scenic construction of a mountain cliff and a desert landscape was dimly lit, entered the character of the Daoist priest Wang Yuanlu (1849–1931), performed by Chen Yizong. Dressed in a worn and dusty outfit of dark blue cotton, characteristic of Daoist priests, Wang began to sweep the floor. After a few moments, he discovered a hidden chambre sealed inside one of the rock sanctuaries carved into the cliff.Signaled by the quick, crystalline, stirring wave of sou

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21

Rogers, Ian, Dave Carter, Benjamin Morgan, and Anna Edgington. "Diminishing Dreams." M/C Journal 25, no. 2 (2022). http://dx.doi.org/10.5204/mcj.2884.

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Introduction In a 2019 report for the International Journal of Communication, Baym et al. positioned distributed blockchain ledger technology, and what would subsequently be referred to as Web3, as a convening technology. Riffing off Barnett, a convening technology “initiates and serves as the focus of a conversation that can address issues far beyond what it may ultimately be able to address itself” (403). The case studies for the Baym et al. research—early, aspirant projects applying the blockchain concept to music publishing and distribution—are described in the piece as speculations or pro

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22

Maddalena, Poli. "Mozi 墨子". Database of Religious History, 27 червня 2024. https://doi.org/10.5281/zenodo.12572530.

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Ancient Chinese philosophical text that would become foundational to the philosophical current known as Mohism. Attributed to a thinker known as Mozi, the text's importance lies in constituting the first extant challenge to ideas later labeled as Confucian. ___ The Mozi 墨子, also known as Mojing 墨經, is an text traditionally attributed to thinker Mo Di 墨翟. Very little is known about Mo Di. The biography recorded in the Records of the Historian 史記 one of the briefest, and presents Mo Di as a man from the state of Song 宋 (conquered by the Qin 秦 state in 286), who was skilled at defensive works and

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23

YK, Lo. "Fanyin." Database of Religious History, June 27, 2024. https://doi.org/10.5281/zenodo.12573212.

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The Fan yin 反淫 ("Against Excesses") belongs to a collection of Han-dynasty bamboo-slip manuscripts donated by an anonymous alumnus to Peking University in 2009 (Beijing daxue chutu wenxian yanjiusuo 2011: 49); its provenance is unknown. Experts at the university dated it to the period between the reigns of Emperor Wu 武 (r. 141-87 BCE) and Emperor Xuan 宣 (r. 74-49/48 BCE) [Beijing daxue chutu wenxian yanjiusuo 2011: 50]. The editors of the Fan yin think it was composed in the early Western Han period (which began in 206 BCE) based on its literary diction and calligraphic style. The Fan yin cont

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24

Feiran, Du. "Zhu Xi's Four Books 朱熹四書". Database of Religious History, 27 червня 2024. https://doi.org/10.5281/zenodo.12574285.

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The Four Books, namely the Great Learning (Da xue 大學), the Doctrine of the Mean (Zhong yong 中庸), the Analects (Lun yu 論語), and the Mencius (Meng zi 孟子), is a compendium of essential Confucian readings compiled, edited, annotated, and systematically interpreted by Zhu Xi 朱熹 (1130–1200 CE), the eminent Southern Song scholar and chief architect of Neo-Confucianism. It is recognized as the most fundamental canon of Neo-Confucianism and marks the climax of this intellectual movement that aims to "reexamine, rediscover, reinterpret, redefine, revitalize and reinforce" the Confucian heritage. (James

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