O CÂNONE DA MÚSICA ORTODOXA CHINESA : UMA SELECÇÃO DOS APONTAMENTOS SOBRE MÚSICA樂統：《禮紀‧樂記》輯略譯註
The article analyzes the "canon of orthodox Chinese music" through an annotated selection of excerpts from the Yuel Ji 樂記 chapter of the Liji 禮記, translated and commented upon by the author as "Notes on Music." The central thesis maintains that, within the Confucian-ritual tradition (li 禮), the noti...
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| Published in: | Review of Culture |
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| Main Author: | |
| Format: | Articles |
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Instituto Cultural de Macau
2014
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| Online Access: | https://www.icm.gov.mo/rc/viewer/pdfViewerParts/40047/2377 |
| Summary: | The article analyzes the "canon of orthodox Chinese music" through an annotated selection of excerpts from the Yuel Ji 樂記 chapter of the Liji 禮記, translated and commented upon by the author as "Notes on Music." The central thesis maintains that, within the Confucian-ritual tradition (li 禮), the notion of music (yue 樂) is prescriptive and legitimizing: it is distinguished from mere sounds (yin 音) by being bound to conformity with tradition and to the moral and sociopolitical efficacy of ritual. Methodologically, the work articulates translation and exegesis with a comparative historical-cultural framework, drawing parallels with the European and Indian definitions of music as formation, prescription, and cosmology (for example, in the Platonic tradition and in ragas), while underscoring the Chinese specificity of the relationship between natural order and human order.
Among the results, the evolution from a religious foundation toward an increasingly "moralizing" reading of behavior stands out, without abandoning the logic of correspondence by affinity (gan ying 感應), which sustains the causal interaction between human practices and natural processes. It is concluded that the Notes function as a canonical reference for the organization of teaching, conduct, and social stability, integrating music, rites, and governance within a single horizon of legitimacy. |
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| ISSN: | 1682-1106 |