This book also discusses important music aesthetic categories of Confucianism, Taoism, Mohism, and metaphysics, and uses critical thinking to analyse the relationship between these categories and relevant schools of thought, reflecting the author's academic vision and thought process.

Sample Chapter(s)

Foreword I

Foreword II

Chapter 1: Introduction

Contents:

• Foreword I
• Foreword II
• Introduction:
  • From the West to China
  • From History to Category
  • Category and Theoretical System
  • Historical Data and Theory
  • Subject of Chinese Music Aesthetics
• Chinese Music Aesthetics in the Context of Globalization:
  • Music Aesthetics Towards Independence
  • Music Aesthetics in Sound Scope
  • Boundaries of Music Aesthetics
  • Future of Music Aesthetics
• Chinese Music Aesthetic Category:
  • Significance of Research
  • Historical Development
  • Theoretical Structures
  • Features
  • Research Materials
  • Research Methods
• Poetry, Music, and Rites:
  • Poetry: The Basis of Music and Rites
  • Origins, Features, and Functions of Music
  • Origins, Features, and Functions of Rites
  • Development of Relationship Between Rites and Music
• Music from Zhong:
  • Zhong
  • Zhong He
  • Sound of Zhong
  • Five Tones
• Making Habits and Customs by Music:
  • Music as Human Nature
  • Changing Habits and Customs
  • Nothing is Better than Music
• Disintegration of Rites and Music:
  • Duke Zhou, Rites, and Music
  • Disintegration of Rites
  • Disintegration of Music
• "Grand Music is Simplified Sound" by Lao Zi:
  • Discussion: "Grand Music is Simplified Sound"
  • "Grand Music is Simplified Sound" and Taoism
  • Five Tones are Deafening
  • "Grand Music is Simplified Sound" and Music
  • "Grand Music is Simplified Sound" and Others
• "Abandon Folk Music" by Confucius:
  • State of Zheng
  • Poetry in the State of Zheng
  • Kong Hou
  • Yin
  • "Abandon Music of Zheng State"
  • Rectification of Rites by Confucius
• "No Music" Theory by Mozi:
  • The Essence
  • Source of "No Music"
  • Music: Inappropriate for Emperors
  • Music: Inappropriate for People's Benefits
• "Music is Joy" Theory by Xun Zi:
  • Music as Joy
  • Music is Joy
  • Music for Cultivation
  • Change Human Nature into Rites and Ethical Principles
• "Natural Music" Theory by Zhuang Zi:
  • Development Based on Lao Zi
  • Criticism on Rites and Music of Confucius
  • Mohist Criticism on "No Music"
  • Inner Mind
  • Ultimate Joy
  • Natural Music
  • Music Fable of Zhuang Zi
• "Music Enjoyment with the People" Theory by Mencius:
  • Top Priority
  • Current Music and Ancient Music
  • Music Enjoyment with the People
• "No Sad Music" Theory by Ji Kang:
  • Confucius Standpoint of Qin Ke
  • Ji Kang's Argument Based on Taoism
  • Enjoy Nature and Free of the Restriction of Rites
• "Music is the Language of the Heavens" Theory by Qing Zhu:
  • Initial Music from the Heavens
  • The Heavens and Inner World
  • Modern Transformation of Chinese Music Aesthetics
• Conclusion
• Index

Readership: Undergraduates, graduates, academics, and historians specialised or interested in Chinese history, specifically music history and music aesthetic. Undergraduates, graduates, and academics with an interest in traditional Chinese music.