Chinese traditional culture is profound and has historical origins. It is an important part of the history of human culture. Traditional culture respects personality, nature is the unity of life, and humans and nature are inseparable. The aesthetic approach pursues spiritual experience and emphasizes understanding. Chinese traditional music, influenced by traditional cultural thoughts, has infiltrated aesthetic thoughts into it and further developed it into a unique aesthetic theory, which has a profound impact on later generations. The following is a brief analysis of music and aesthetics, represented by Confucianism, Taoism, and Mohism. 1: Confucian music theory system:
Confucian music theory fully affirms the role of music in social life. Xunzi believed that music can inspire soldiers on the front line to fight bravely in turbulent times, and it can also make people behave politely in a peaceful environment.
In terms of music content and art form, Confucian music theory puts the goodness and harmony of the content first, and the beauty of the art form second. Traditional Chinese music aesthetics is centered on harmony and has a profound impact on the development of musicians in our country. Confucian music theory also regards the musician's art as a way to understand the truth.
2: Representative works:
"Legends of Music" "Records of Music" is a representative work of Confucian aesthetics of musicians.
"Legends of Music" discusses the origin of music: the origin of music comes from the human heart: the movement of the human heart is caused by the use of things. It is moved by the things, so it is shaped by the sound. Music is composed of time, and its origin is due to people's thoughts and feelings being excited by external things, and the animal mentality is the viewpoint of the original materialist reflection theory.
"Music" raises many issues related to music art, such as: the causes and characteristics of music, the relationship between music and national politics, the relationship between music and real life, the aesthetic role of music, and music education. role, social function of music, etc.
"Legends of Music" puts forward its own thoughts on music aesthetics, as written in the book: Therefore, virtue comes first, art comes next, conduct comes first, and deeds come last. --("Le Qing Chapter"). That is to say, the ideological content of the work is primary, the skills are secondary, the cultivation of moral character is primary, and the completion of the work is secondary. This gives us a revelation: in contemporary music teaching, professional music talents are certainly needed, but it is more important to cultivate and expand musical quality through music education and have certain artistic accomplishments.
3: Representative figures:
(1) Representative figure Confucius (511 BC-479 BC)
Confucius was a great thinker in the Spring and Autumn Period. A politician and educator, as the founder of Confucianism, Confucius is one of the important representatives of Chinese music and cultural history. His musical thoughts are mainly concentrated in "The Analects of Confucius".
Confucius advocated political ethics, advocated etiquette, emphasized the political role of etiquette and music, and emphasized that music can influence people morally. He once said: There is no need to be good at music when changing customs, and there is no need to care about etiquette to govern the people. Confucius believed that the ideological and artistic nature of music are goodness and beauty. Those who conform to the so-called benevolence are considered good, and those who express peace and moderation are considered beautiful. This formed one of the earliest musical aesthetic standards in human history. He praised "Shao", which was about praising Shun's literary virtues, as a perfect art, and "Dawu", which showed King Wu's defeat of Zhou, as a perfect but not perfect art. Confucius believed that musicians should be restrained in reflecting people's pain and joy, and should not exceed the theoretical principles of the golden mean. Emphasis on the unity of form and content, advocating the elegant music that is enjoyable but not obscene, declining but not harmful, not liking the passionate or rebellious folk music of Zheng and Wei, and detesting the chaotic elegance of Zheng Sheng, which carries the politics of the feudal ruling class bias.
(2) Representative figure Xunzi (approximately 313 BC - 238 AD)
Xunzi advocated the theory of evil nature in philosophy and believed that people’s inherent bad habits must be educated. Becoming good, because more emphasis is placed on the importance of etiquette and music education, is an inevitable need for people. He advocated that music should be based on reality and develop and change with the progress of the times, but there was still a tendency to admire elegance and despise vulgarity in music thought. 1: The representative work "Tao Te Ching"
Laozi's "Tao Te Ching" Da Yin Xi Sheng is a famous argument in ancient Chinese music theory. He believes that the most beautiful music should bring harmony and tranquility to people's hearts, and this kind of tranquility can cultivate and sublimate people unconsciously.
2: Representative figures
(1) Laozi (about 571 BC--471 BC):
Laozi is an ancient philosopher. He believes that things The contradictory changes are governed by a natural law called Tao. Lao Tzu's attitude towards life is a positive one. In terms of musical thought, he believes that beauty and ugliness exist in comparison, and sounds are opposite and complementary. Everyone in heaven knows that the beautiful is beautiful, but this is evil; everyone knows that the good is good, but this is not good. - Fu Weifuju: This is why I will not go away.
(2) Zhuangzi (approximately 369 BC - 286 BC)
Starting from the idea of ??sublime nature, Zhuangzi believed that the essence of musical beauty is manifested in human natural temperament. The criterion of musical beauty is that it is natural and not artificial, with a simple sense of beauty. Music breaks away from the shackles of etiquette and is in line with nature and human nature. Zhuangzi believes that there are three types of sounds: human sounds (man-made music), earth sounds (the sound of wind and grass), and natural sounds (completely natural sounds). This kind of music cannot be heard as its sound, and its shape cannot be seen as it fills the heaven and earth. Wrapped in six poles.
1: Representative figures
(1) Mozi (about 468 BC - 376 BC)
Mozi is a music school that is opposed to Confucian music thought. Mozi was born in the state of Lu and was a great thinker, erudite scholar and political activist. In music, he strongly opposed the Confucian idea of ??governing the world by ritual and music. His attitude towards life was too negative and he only strived to meet the minimum life requirements. The understanding of the social role of music is not comprehensive enough. Mozi believed that since the art of music cannot bring benefit to the world, it will not only bring harm to the world but also enrich the people and can only increase the burden on workers. Not only is it impossible for music to govern the world, but if its pleasure exceeds complexity, its governance will exceed Widow.