Ancient Chinese Music Aesthetics

Author: Xi Hailin
Publisher:
Publish Date: 2004-12-01
Features: The study of the history of Chinese music aesthetics, in terms of the existing scholarly achievements, the vast majority of the content is related to the research of the history of Chinese music aesthetics or aesthetic consciousness. However, can we conclude that the study of the history of Chinese music aesthetics or music aesthetics merely involves the research of historical music aesthetic thoughts and their theoretical forms? Although the research object of the history of music aesthetics, especially the history of Chinese music aesthetics, has a special and historical content for other music aesthetic theoretical research, from the perspective that any social science "is a historical science," any music aesthetic theory is situated within a specific historical framework and is a music aesthetic theory that emerges from history. Its research takes the materialized expression of music beauty practice revealed in the diachronic process, as well as the music aesthetic thoughts, aesthetic consciousness, and even aesthetic emotions formed on this basis, as its research object. From the perspective of disciplinary foundational theory, the fundamental understanding of the research object, whether synchronic or diachronic music aesthetic research, psychological or cultural music aesthetic research, should and must be consistent. Otherwise, it would be impossible to truly achieve the unity of history and logic in theoretical research.