Relevant bibliographies by topics / Daoist musician

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Daoist musician'

Author: Grafiati
Published: 12 March 2024

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Journal articles on the topic "Daoist musician"

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Starostina, A. B. "Folklore Basis of Three Late Tang Period Stories About the Intrusion into Another’s Dream." Vestnik NSU. Series: History and Philology 22, no. 4 (2023): 102–14. http://dx.doi.org/10.25205/1818-7919-2023-22-4-102-114.

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The article aims to explore alleged folklore basis of three Chinese chuanqi tales about a husband's intrusion into his wife's dream written during the middle-late Tang period, namely, the first episode of “A Record of Three Dreams” by Bai Xingjian, “Student Zhang” by Li Mei, and “Dugu Xiashu” by Xue Yusi. The psychologism inherent in these stories masks their closeness to folklore and literature tales about supernatural or uncommon road encounters. The use of Chinese and foreign comparative material allows us to show that these stories originate in belief in the night feasts of spirits and in
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Daoust, Yves. "Entretien de Yves D. avec lui-même." Circuit 8, no. 1 (2010): 19–26. http://dx.doi.org/10.7202/902187ar.

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Par le biais d’une entrevue imaginaire, Yves Daoust décrit le projet de chacune de ses œuvres électroacoustiques, leur jeu avec l’ambiguïté et leurs liens avec le monde extra-musical. Son objectif est de réhabiliter le plaisir de l’ouïe en redécouvrant à travers ses compositions notre environnement sonore.
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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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Renaud, Lucie. "La création pour jeune public : camaïeu de styles musicaux." Circuit 16, no. 2 (2010): 43–56. http://dx.doi.org/10.7202/902396ar.

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La musique d’aujourd’hui présentée au jeune public est multiple dans ses approches, dans ses sonorités et dans les messages qu’elle cherche à transmettre. Tour à tour didactique, expressive ou émotive, elle varie énormément de par sa forme, son contenu et sa présentation. Certains des compositeurs québécois les plus actifs dans le domaine, dont Denis Gougeon, Yves Daoust, Ana Sokolovic, Isabelle Panneton et Zack Settel, ainsi que John Estacio (Canada), Julian Wachner (États-Unis), Isabelle Aboulker et Coralie Fayolle (France), font la lumière sur ce genre musical particulier, en perpétuelle év
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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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Wang, Keping. "Reflections on Waterscape Aesthetics in Chinese Tradition." Asian Studies 11, no. 2 (2023): 15–40. http://dx.doi.org/10.4312/as.2023.11.2.15-40.

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Philosophy is akin to poetry due to their respective endeavour to express the ultimate good sense which we term civilization. This can be exemplified through the Chinese vision of waterscapes which is found running through Chinese philosophy and poetry alike. As observed in Chinese tradition, the Daoist water allegory is referred to “the supreme good”. It can be further explicated with reference to the Confucian appreciation of “huge waterscapes” in terms of moral symbolism. All this permeates through the poetic depictions of waterscapes in the beautiful, majestic, and musical categories from
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Sela, Ori. "Introduction: Paving the Old-New Way from Qing to China." Science in Context 30, no. 3 (2017): 213–17. http://dx.doi.org/10.1017/s0269889717000151.

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The funeral procession of Sheng Xuanhuai (盛宣懷, 1844–1916) – the renowned Qing scholar-official, financier, and “father of Chinese industrialism” – meandered through the streets of Shanghai on 18 November 1917. The funeral was a grand event, one that was purportedly documented in film, later to be distributed as the first “news short-film” (新聞短片) in China. TheNorth China Heraldreported on the event in some detail, at times in rather florid language, and suggested that “the cortege was splendid and impressive, bringing back the days of the Manchu emperors. The ceremonial costumes, the musical in
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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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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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Dissertations / Theses on the topic "Daoist musician"

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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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Books on the topic "Daoist musician"

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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. 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. 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. 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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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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Book chapters on the topic "Daoist musician"

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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 connections between the conscious and the unconscious through memory. The chapter uses the programmatic title and literary preface of Seagulls and Forgetting Schemes, a Song dynasty qin piece, as an exemplar of the Daoist aesthetic of (un)consciousness, approached as both an ideal comprising a world or state of enlightened detachment and an aesthetic activity for cultivating such a world or state.
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Cheng, Zhong Wei. "THE FUNCTION OF THE TIMBRE OF MUSICAL INSTRUMENTS AND IT’S REFLECTION IN RELIGIOUS CEREMONIES OF CHINA." In Refining versus Simplification in Transmission and Performance / Humans and their Musical Instruments as Part of Nature. Logos Verlag Berlin, 2023. http://dx.doi.org/10.30819/5685.15.

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There are many kinds of national musical instruments in China, which can be divided into wind, string, plucked string percussion according to different performance methods. Each type of musical instruments has different timbres due to different sounding materials and the high and low frequencies produced while playing melodic units. In the current occasions of folk activities, the use of various musical instruments presents a uniqueness in distribution of occasions. This topic will focus on the discussion of the characteristics of the timbre of the main musical instrument in folk Daoist ceremonies and the issue of the timbre of the instrument, aiming to answer ‘What kind of functionnality does the timbre of the instrument has in Daoist rituals?’ and ‘Why does they have these functionalities?’ and other questions.
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Conference papers on the topic "Daoist musician"

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Uya, Yifan. "Collaborative Vibration: The Mythic Journey of A Coal Boy." In LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.119.

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Acknowledging the Anthropocene crisis, my research examines myth and myth-making to reimagine the role of Claude Lévi-Strauss’ bricoleur concept. Following Joseph M. Coll’s Taoist and Buddhist systemic thinking inspired theory of sustainable transformation, the practice-led project evolves into the making of an essayist film that conveys a specific personal myth.My research reckons that a bricoleur should perceive myth-making as an organic growing organisation that acquires intuition and posteriori knowledge. And focus on a narrative that evolves into the mythic identity of a piece of coal and
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