Добірка наукової літератури з теми "Daoist music"
Оформте джерело за APA, MLA, Chicago, Harvard та іншими стилями
Ознайомтеся зі списками актуальних статей, книг, дисертацій, тез та інших наукових джерел на тему "Daoist music".
Біля кожної праці в переліку літератури доступна кнопка «Додати до бібліографії». Скористайтеся нею – і ми автоматично оформимо бібліографічне посилання на обрану працю в потрібному вам стилі цитування: APA, MLA, «Гарвард», «Чикаго», «Ванкувер» тощо.
Також ви можете завантажити повний текст наукової публікації у форматі «.pdf» та прочитати онлайн анотацію до роботи, якщо відповідні параметри наявні в метаданих.
Статті в журналах з теми "Daoist music"
1
고은강. "Transnational Construction of Daoist Music: Creating Contexts, Constructing Identity." Journal of East Aisan Cultures ll, no. 49 (May 2011): 257–90. http://dx.doi.org/10.16959/jeachy..49.201105.257.
Повний текст джерела
2
Kreis, Guido. "Xunzi and Zhuangzi on Music: Two Ways of Modeling the Ethical Significance of Art." Journal of Chinese Philosophy 50, no. 1 (April 5, 2023): 64–80. http://dx.doi.org/10.1163/15406253-12340090.
Повний текст джерелаАнотація:
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 claim an indirect ethical significance. Both models are mutually exclusive. This gives reason to believe that the Xunzi and the Zhuangzi present us with the two systematically possible ways of modeling the ethical impact of art.
3
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.
Повний текст джерела
4
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 (November 2015): 534–63. http://dx.doi.org/10.1093/ml/gcv103.
Повний текст джерела
5
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.
Повний текст джерелаАнотація:
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 concerns the relevance of Chinese (Confucian and Daoist) traditional aesthetics for everyday aesthetics, and examines particular features of the nature of perception in everyday aesthetics which is common to Chinese and Western artistic activities, aesthetic discourses and their conceptualizations. In the second section I discuss the “intercultural” concept of atmosphere as the de-personalized or “transpersonal”/intersubjective, vague and all-inclusive experience of the situational mood and environmental wholeness. I explore and compare the reflection of its characteristics in Western scholarship and Chinese aesthetics, especially in regard to the aural perception and sonic sensibility. The final section provides a comparative analysis of few examples of the integration of music into the environmental or everyday surrounding—in Daoist philosophy and Chinese everyday aesthetics, and Western avant-garde art (precisely, musical composition by John Cage 4’33). The analysis is concentrated on the perception of music in relation to the experience of atmosphere and everyday aesthetics, as they were defined in the previous sections. The paper challenges the “newness” of everyday aesthetics, especially if it is viewed from the intercultural perspective, and proposes the separation of its discourses into the investigation of its past and present.
6
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.
Повний текст джерела
7
Ho, I.-Lien. "Poem without Language: When a Writing Becomes Traceless." Leonardo 51, no. 1 (February 2018): 55–56. http://dx.doi.org/10.1162/leon_a_01551.
Повний текст джерелаАнотація:
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 habitual way of perceiving conditioned by the mass media; and resonates with the concept of Kongwu (空無, emptiness, nothingness) from Daoism and Buddhism.
8
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 (August 2021): 275–83. http://dx.doi.org/10.1017/s1355771821000315.
Повний текст джерелаАнотація:
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 Meditation practices and teachings of Pauline Oliveros, as well as compositions by Yves Daoust, Hildegard Westerkamp and Trevor Wishart. One consistent theme revealed through these investigations was that socially engaged, aurally focused artwork informed and woven by familiar and documented ‘life’ sounds or nostalgic sound events increases emotional triggers for the audience, creating a deeper engagement with the art piece or performance. Furthermore, an informed and host-led directive encouraging participatory and attentive listening through either meditation or discussion increases audience reception and takeaway, thus inspiring and unifying mass group empathy. This article suggests that the application of these techniques by electroacoustic composers, sonic artists, oral historians and interdisciplinary artists will create informed, passionate and empathetic listening spaces that live beyond the insular, creative experience itself.
9
Wong, Kin Yuen. "The Melodic Landscape: Chinese Mountains in Painting-Poetry and Deleuze/Guattari's Refrains." Deleuze Studies 7, no. 3 (August 2013): 360–76. http://dx.doi.org/10.3366/dls.2013.0117.
Повний текст джерелаАнотація:
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 mountains as performance of events, a concert of vibration of light, shape and sound, movement and rest. Insofar as art is to create energy transfer, Chinese artists of mountains aim at concerting with nature as organised by rhythms and conspecifics, unfolding contrapuntal melodies with all kinds of counterpoints. As Deleuze and Guattari's notion of refrains are the three forces or tempos of chaos, earth and world confronting/converging one another, this paper endeavours to find out, first, how Deleuze and Guattari's geological, organic and alloplastic stratifications can be put alongside mountains, animals, plants and arts, and second, how this notion can contribute to our new appreciation of the way Chinese mountains in arts can give out music.
10
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.
Повний текст джерелаАнотація:
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 suggest international transferability of this approach, aspects such as Buddhist belief in re-incarnation or Daoist awareness of permanent transitions may qualify too simple cross-cultural applications. Despite the encouraging results which suggest Guqin music therapy for the improvement of sleep quality in (gastric) cancer patients, further studies are needed for broader clinical and rehabilitative implementation.
Дисертації з теми "Daoist music"
1
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.
Повний текст джерелаАнотація:
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 professionnel des musiciens taoïstes depuis les années 1980, période marquée par un recouvrement pour la musique taoïste encouragé par des initiatives gouvernementales, en particulier dans le cadre du nouveau projet de Patrimoine Culturel Immatériel (PCI). Une méthodologie a été adoptée, combinant l’analyse musicale avec le logiciel Mei Dunhuang et une approche ethnographique. Cette dernière prend en compte la pratique actuelle en matière d’enregistrements et de performances de concerts taoïstesThis study delves into the music daoist of the Zhengyi in Zhejiang, with a special emphasis on its relationship with buddhist music. The research aims to analyze and compare daoist and buddhist musical pieces in order to identify the distinctive characteristics of each, shedding light on the relations and interconnections that have established between them at a specific time and place - a perspective that has been largely overlooked in previous studies. Adding a new dimension to this research, the study also examines the developpement in the professional status of daoist musicians since the 1980s, a period characterized by a resurgence of daois music, spurred by governmental initiatives, particularly under the new Intangible Cultural Heritage (ICH) project. A methodology has been adopted that combines musical analysis using the Mei Dunhuang software and an ethnographic approach. This latter aspect considers the current practices in the recording and performance of Taoist concerts
2
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.
Повний текст джерела
3
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.
Повний текст джерелаАнотація:
碩士國立臺南藝術大學
民族音樂學研究所
96
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 ritual sacred affects. It also breaks social hierarchical relationship and reshape a new communal relationship in a ritual space . Fongshan Chennan-Xiangong Temple which worships Lu Dongbin is a temple based on scriptures of Confucianism, Buddhism, and Taoism and religious teachings of rites and music to believers. Since the time(1945) that Taiwan restored its sovereignty, there are four departments of Gods instruction, Classical religious doctrine, ritual music and propagating in operation to burden the missions of teaching and sacrificial ceremony. On the first and 15th day of every month in every lunar calendar year and deification anniversary, there are various ceremonies that need to use music to conjure up solemn the atmosphere. it is necessary to in order to achieve the mission and purpose of celebrating, for deity and pray for followers’ good fortune establish, a shenyue(sacred music) eusemble to perform in various occasions. In addition to traditional Confucian ritual music, the also combines Buddhism chanting prayers and becomes a sacrificial ritual music for the anniversary of major deity Lu . Based on theories of folk music, music sociology and religious ritual music, this study adopts the methods of participant observation and interview in field survey to collect data for analysis. I choose Fongshan Chennan-Xiangong Temple as scope of research. Research subject of this study focuses on ceremonial music of Lu Dongbin. The purpose of this study is to analyzes by ritual structure, content, style and meaning of ritual music. their functions on religious belief and social education in order to understand traditional heritage and changes of choral in Fongshan Chennan-Xiangong Temple, power and meaning of the sustainable development. Finally, I also make a few suggestions to help the members of shenyue(sacred music) to resolve their problems.
4
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.
Повний текст джерелаАнотація:
碩士國立臺北藝術大學
音樂學系碩士在職專班
100
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, the study seeks the possibility which could develops their own music traditions and supplies the references of the cultural innovation and heritage to the composers. Chiang Wen-Yeah who is born in Taiwan is the first celebrity of the modern composers in Asia. His masterpiece “Confucian Temple Rites” (1939) is worth probing by the importance of the Eastern culture and the era meaning of the innovative court music. Chiang Wen-Yeah observes the characters from the relationship between Confucian court music and teachings, comprehends philosophical knowledge of the scales, harmony and form, adds the creative conception of the modern music, and expresses the Eastern humanism spirit by orchestra. Besides, the well-known Korean composer, Isang Yun. His orchestral masterpiece “Reak”(1966) reflects the East “Taonism” on the Korean court music. “Taonism” is the fundamental notion in the East philosophy. It represents in every aesthetical field, especially calligraphy which is emphasized on the yin yang doctrine and form coordination. These factors profoundly effect on the strength and aesthesis of calligraphy. Isang Yun uses the spirit of “Taonism” and the yin yang doctrine on the orchestra by the concept of “houptton”. “Harmony Of The World” is the famous chapter of Confucian philosophy. The modern composer in Taiwan, Pan Hwang-Long, had completed “Harmony Of The World” orchestral concerto in 1986-1990. This concerto is applied three unattached movements to represent the ideal harmony world in Confucianism. Although Pan Hwang-Long’s music is well-known for avant-garde, he often shows the mind of the East philosophy. He uses the creative skills which he had learned during the period of studying in Europe and combines the spirit and imagery of the East text creation. By above mentioned, he attempts to express not only the ritual, humble and peaceful essence in Confucianism, but also the harmony scene in modern society. Furthurmore, he represents the extraordinary magnanimity of “Great Music is Simple” in the East music by linking acoustics skills and the East artistic conception together. This study takes three orchestral compositions as examples for observing the cultural foundation of three composers, understanding how to start from the traditions, expressing the artistic style in modern times, and discussing the accomplishment that they reflect Confucianism on modern music. For the nationals and modern artists, this study is expected for transforming the energy in modern times and performing the musical aesthesis of the East culture on the international stage.
Книги з теми "Daoist music"
1
Fung, C. Victor. Foundations of Classic Daoism. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190234461.003.0004.
Повний текст джерелаАнотація:
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 flexible that they need not worry about what is forthcoming.
2
Fung, C. Victor. Complementary Bipolar Continua in Music Education. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190234461.003.0005.
Повний текст джерелаАнотація:
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 continua: active and passive musical motions, music teacher and learner roles, high-energy and low-energy activities, and familiar and unfamiliar musical experiences. The chapter ends with an explanation on how the complementary bipolar continua are connected among themselves and with the broader life.
3
Fung, C. Victor. Introduction. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190234461.003.0001.
Повний текст джерелаАнотація:
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 characteristically Chinese philosophy. An organismic worldview and a unique perspective in harmony characterize this philosophical inquiry. The author cautions readers about the developments of Confucianism and Daoism evolved after the classics, because their doctrines could be far removed from those of the classics, especially those indicated by prefixes such as “neo-,” “new,” and “contemporary,” or the adjective “religious.”
4
Fung, Victor. A Way of Music Education. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190234461.001.0001.
Повний текст джерелаАнотація:
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 teachings of Confucius, Mencius, Laozi, and Zhuangzi are applied to propose a “trilogy”—change, balance, and liberation—as a way of thinking and practicing music education. Music education is viewed as a lifelong endeavor; the philosophy therefore calls for a dynamic flexibility to maintain a balanced life in constantly changing situations. While principles suggested in this philosophy are simple, it is critical to practice them persistently to achieve continuous improvements. Through extended practice in being musically proactive, a musical liberation can be achieved and a humanly human spirit can be preserved and sustained.
5
Fung, C. Victor. Foundations of Yijing. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190234461.003.0002.
Повний текст джерелаАнотація:
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 the musical activities and musical events. In music education settings, events are constantly changing due to changes in context, the teacher, and the learner, yet they are connected and synchronized.
6
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.
Повний текст джерелаАнотація:
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 music education. To live a proactive musical life is to enable musical liberation and to promote prosperity in life. In a state of liberation, humans are able to do anything as wished only within the bounds of humanly dao and heavenly dao.
7
Saussy, Haun. Translation as Citation. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198812531.001.0001.
Повний текст джерелаАнотація:
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 China, creativity was forced upon them: a vocabulary adequate to their purpose had yet to be invented. A Chinese Buddhist textual corpus took shape over centuries despite the near-absence of bilingual speakers. One basis of this translating activity was the rewriting of existing Chinese philosophical texts, and especially the most exorbitant of all these, the collection of dialogues, fables, and paradoxes known as the Zhuangzi. The Zhuangzi also furnished a linguistic basis for Chinese Christianity when the Jesuit missionary Matteo Ricci, arriving in the later part of the Ming dynasty, allowed his friends and associates to frame his teachings in the language of early Daoism. It would function as well when Xu Zhimo translated from The Flowers of Evil in the 1920s. The chance but overdetermined encounter of Zhuangzi and Baudelaire yielded a “strange music” that retroactively echoes through two millennia of Chinese translation, outlining a new understanding of the translator’s craft that cuts across the dividing lines of current theories and critiques of translation.
Частини книг з теми "Daoist music"
1
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, 223–42. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-91599-9_14.
Повний текст джерела
2
"Daoist Ritual Music." In Daoism Handbook, 747–64. BRILL, 2000. http://dx.doi.org/10.1163/9789004391840_026.
Повний текст джерела
3
Kuang, Lanlan. "(Un)consciousness? Music in the Daoist context of nonbeing." In Music and Consciousness 2, 306–23. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198804352.003.0018.
Повний текст джерелаАнотація:
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.
4
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, 130—C11P50. Oxford University Press, 2023. http://dx.doi.org/10.1093/oxfordhb/9780197611654.013.14.
Повний текст джерелаАнотація:
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 complementary way to uncover these parallels with contemporary ethic of care. Along with the Confucian dao and the Daoist dao, multiple ways of cultivating care in music education are explored.
5
Hansen, Chad. "The Context of Chinese Philosophy: Language and Theory of Language." In A Daoist Theory of Chinese Thought, 30–54. Oxford University PressNew York, NY, 2000. http://dx.doi.org/10.1093/oso/9780195134193.003.0002.
Повний текст джерелаАнотація:
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 the relative lack of philosophical exchange between China and the lndoEuropean tradition. Philosophical tenets are social products. They spread as technology, sculpture, language and music do. When two cultures come in contact they may talk about things. In this way they learn each other’s technology, religion, philosophy, astronomy and so forth. A physical barrier to travel normally inhibits the spread of philosophical theories because it inhibits the wandering of philosophers-who are, after all, not notoriously physically adventurous.
6
"The Poetess And The Precept Master: A Selection Of Daoist Poems By Gu Taiqing." In Text, Performance, and Gender in Chinese Literature and Music, 325–40. BRILL, 2010. http://dx.doi.org/10.1163/ej.9789004179066.i-468.67.
Повний текст джерела
7
Kohn, Livia. "Western Adaptations." In The Daode Jing, 243–62. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190689810.003.0013.
Повний текст джерелаАнотація:
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 relationships through abundance to golf, photography, and more. In addition, the text has found expression in literature, music, and art, giving rise to books such as The Tao of Pooh, and recordings such as “The Songs of Laozi” and “Dao Blues.”
8
Hutton, Eric L. "Ethics and the Arts in Early China." In The Oxford Handbook of Ethics and Art, 15—C2P76. Oxford University Press, 2023. http://dx.doi.org/10.1093/oxfordhb/9780197539798.013.3.
Повний текст джерелаАнотація:
Abstract During the classical period of Chinese philosophy (sixth to third centuries bce), thinkers developed a variety of views about how one ought to live, and about the role of the arts in an ideal life. Music is a primary case over which they contended, and they offered competing arguments about the sorts of music to which one should listen, whether one should listen to it all, and whether one should learn to perform it. This chapter surveys these debates, focusing on the disagreements between three main camps: Confucianism (as seen in the Analects and the Xunzi), Daoism (represented by the Laozi and the Zhuangzi), and Mohism. The chapter also considers how certain Chinese views might prompt us to reconsider our conception of the categories of “ethics” and “the arts” themselves.
9
Li, Shuangyi. "Transcending Exoticism? Sound and Voice in Dai Sijie and François Cheng." In Sounds Senses, 209–36. Liverpool University Press, 2022. http://dx.doi.org/10.3828/liverpool/9781800856882.003.0010.
Повний текст джерелаАнотація:
This chapter examines the French-language novels written by two first generation Chinese migrant writers in France, Dai Sijie and François Cheng. It demonstrates how the Chinese linguistic traits are thematically, stylistically, and æsthetically constituent of the French textuality from the perspective of sounds and voices. Existing scholarship on the impact of Chinese on these writers’ French texts focuses almost exclusively on the visual aspect. Departing from this oculocentric approach, this chapter argues that attention to their novelistic engagement with sound-inspired imaginations through accents and dialects, and the translingual reinvention of "voices" as voix/Voie in relation to music, poetry, and spirituality (e.g. Daoism and Orphism) furthers our understanding of the creative dynamic of exoticism as well as the authors' fundamental desire to transcend cultures.