A reflective and critical Study on Philosophy of chinese Music: "on Music without Feelings" of Jikang as a Centre

• Main Authors: Mei-chih Huang, 黃美智
• Other Authors: Shih-chen Chen
• Format: Others
• Language: zh-TW
• Published: 2011
• Online Access: http://ndltd.ncl.edu.tw/handle/20223262249281020620

碩士 === 南華大學 === 哲學與生命教育學系 === 100 === 　　Confucian is the main part in the traditional thought of music of China. A deep moral education can be found in this thought, it is a philosophy whoes purpose makes us to become good. When goodness is seen as a condition for music, so its beauty belongs to goodness, and music is conditioned within the Elegant-Music (雅樂) which makes our nature mild, and the Zheng-Music (鄭音) which stimulates our nature plays no role in the thought of music in China. According to such thought the standard for music is moral not the music itself, and development of muisc in China is therefore severely limited. Ji Kang (嵇康) in his 〈On Music without Feelings〉 (〈聲無哀樂論〉) has another viewpoint against such thought of China, namely understands music by means of Daoism, thinks that music is based on his harmony of its nature and can’t transfer any information and therefore has no ability for education. Hanslick holds the same viewpoint which sees indepently music itself not for any purposes, thinks that beauty in music is music itself, not because of outsider feelings. Such thought is called autonomy of music. In my paper I try to study the historical background for the thought of 嵇康, and show what daoist content in 〈On Music without Feelings〉is: equality between musics from the daoist viewpoint.