-
重置
-
语音
-
放大
-
缩小
-
鼠标样式
-
辅助线
-
读屏字幕
-
退出
重置
语音
放大
缩小
鼠标样式
辅助线
读屏字幕
退出
Musical sounds, or simply music, are artistically rhythmical sounds
flowing forth from one’s stirring emotions. Ancient Chinese often made a
distinction between musical sounds and plain sounds. Sounds created by a
natural environment are plain sounds, while those created when emotions well up
in one’s heart is music. A single sound is called sheng (声), different sounds that come together are called yin (音); when these sounds beautifully fit together, they are called music (yue 乐). Ancient Chinese
believed that musical sounds derive from one's inner motions, and that the
music of a country or a region reflects the popular sentiments and the social
mores there. Hence Confucian scholars believed that art and literature
demonstrate both virtues and flaws in a country's governance and therefore play
the role of moral education.
The term refers to the five musical notes that rise in pitch, from gong (宫),shang (商),jue (角),zhi (徵),to yu (羽), which correspond roughly to the notes of 1, 2, 3, 5, and 6 in today's numbered musical notation. When a zhi minus is placed before zhi and a gong plus after yu, this pentatonic scale becomes heptatonic. Such division of the musical notes gives rise to a variety of tunes. Although Chinese classical music based on a five-note scale does not vary that much, it retains the beauty of a simple, quiet, and lyrical style. As ancient refined music and folksongs were mostly based on a five-note scale, this term often referred to music in general.
The term is about appreciating and understanding the ideas in literary and artistic works and the thoughts of their authors. The original meaning was feeling a sense of resonance with music. It was later extended by literary critics in the Wei, Jin, and Southern and Northern dynasties to mean resonance or empathy between writers / artists and their readers / viewers. As a core concept in literary criticism, it touches upon both general and particular issues in artistic creation and appreciation, involves rich intellectual implications, and meshes with the audience’s response in Western criticism, receptive aesthetics, and hermeneutics.
Different sounds produced when eight musical instruments made of gold, stone, earth, leather, silk, wood, gourd and bamboo are played together create harmonious music. This term comes from The Book of History. The term, which stresses that different tunes produced by the eight musical instruments should be blended in a harmonious way to create beautiful melody, epitomizes the pursuit of harmony of ancient Chinese music. Music gives expression to people’s sentiments; the eight different sounds relate to people’s different frames of mind, and can become a way of enlightenment. The term means that people can achieve peace of mind by listening to different kinds of music and should think and act in keeping with what the rites and music require of them. The phrase also implies that different people and groups can all voice their views, but should abide by common rules so as to maintain harmonious ties among them.
Confucian scholars believed that music interacts with both society and its political evolution; it also reflects the rise and decline of a state’s political strength and changes of social customs. If a state suffers from political corruption and social turmoil, its music and poetry will be full of resentment and anger. Hearing such music and poetry, the ruler must promptly review his governance and correct abuse of power so as to avoid downfall.
This term refers to the music of a state that is about to disintegrate. Later, it also refers to decadent and immoral music. The Confucian view was that music of a state on the verge of collapse tended to be dejected and demoralizing. As the downtrodden people endured immense suffering, their music and poetry were invariably full of sorrow and bitterness. If the ruler failed to wake up to the reality, the fall of his state was imminent.
Confucian scholars believed that music interacts with both society and its political evolution; it also reflects the rise and decline of a state’s political strength and changes of social customs. Music education fosters good governance and social stability. In an age of peace and stability with enlightened governance and harmony, its music and poetry are characterized by serenity and joyfulness. “Music of an age of good order” also refers to some eulogies in The Book of Songs.
This term is an example of Confucian literary thinking. Confucian scholars believed that music gave expression to people’s thinking and emotions, so a country’s music reflected whether government integrity was upheld, whether people enjoyed prosperity, and whether the social atmosphere was amiable and sincere. According to Zuo’s Commentary on The Spring and Autumn Annals, during his diplomatic mission to the State of Lu in the Spring and Autumn Period , Prince Jizha of the State of Wu learned about the governance of various vassal states and regions at the time by listening to their music performed by the people of Lu. This should be the origin of the term “assessing governance by listening to music.” This concept first emerged in the Qin and Han dynasties, which removed the boundary between art and government and made artistic aesthetics a part of public life. It gave expression to Confucian literary thinking which was based on governance and ethics and added a political and ethical dimension to the ancient Chinese literary and art theory.
This term refers to the poetic creation and achievements during the Kaiyuan (713–742) and Tianbao (742–756) reign periods of Emperor Xuanzong of the Tang Dynasty, as compared with poetic writing in the early Tang, mid-Tang, andlate Tang periods. This period, marked by good governance, prosperity, and stability, was a golden era for the great Tang empire before it was disrupted by the An Lushan and Shi Siming Rebellion. There was cultural infusion between the north and south, and travels to and from the outside world were frequent. All this made it possible for artistic creation to blossom. Of all the four periods of poetic creation, i.e., the early Tang, the prime Tang, the mid-Tang, and the late Tang, the prime Tang was the shortest, but its artistic attainment was most remarkable. This period produced legendary poet Li Bai (701-762) and poetic genius Du Fu (712-770) as well as a galaxy of outstanding poets such as Zhang Yue (667-731), Zhang Ruoxu, Zhang Jiuling (673 or 678-740), Meng Haoran (689-740), Wang Wei (701?-761), Gao Shi (700?-765), Cen Shen (715-770), Wang Changling (?-756?), Wang Zhihuan (688-742), Cui Hao (?-754), Li Qi (?-753?)，and Wang Han. These poets extolled natural scenery, expressed noble aspirations, and depicted real life. Their writing style was both vigorous and unrestrained. They were broad in vision and were adept at using fresh, natural language, and their poems were full of power, vigor and an enterprising spirit. Their poems represented the highest attainment in classical Chinese poetry. This period also saw the thriving of the natural landscape school and the frontier school in poetry writing.
Yue (乐) is one of the six arts of ancient times, often mentioned together with li (礼 rites / social norms). In contrast to external rules and rites, music touches the emotions and thus can affect human behavior. However, not all music counts as the Confucian yue which must have the effect of making the listener calm and measured so as to willingly behave in accordance with social norms, and thus engage harmoniously with others. Yue is often associated with other forms of ceremonial actions; it is one important way of maintaining proper human relations and encouraging better social practices and customs.
中华思想文化术语传播工程 秘书处
电话：010-88819132
邮箱：shuyu@fltrp.com
中华思想文化术语微信公众号
指导单位：教育部语言文字信息管理司 主办单位：国家语言监测与研究网络媒体中心
京公网安备 11010802039713号