Song Hyon's "Model for Study of Music" (Akhak kwebom) and the historical development of the Neo-Confucian concept of music in fifteenth-century Chosen Korea, with translations of the "Introduction" to the "Model for Study of Music" and excerpts from the "

详细信息   

• 作者：Chung ; Ehichung Rachel.
• 学历：Doctor
• 年：2003
• 导师：Perkins, Leeman L.
• 毕业院校：Columbia University
• 专业：Music.;Philosophy.;History, Asia, Australia and Oceania.
• ISBN：0493910735
• CBH：3071372
• Country：USA
• 语种：English
• FileSize：9780747
• Pages：251

文摘

Throughout Confucian East Asia, the concept of music known as “ yue” was central to both governance and self-cultivation. In the twelfth century, Confucianism received new impetus through the metaphysical philosophy of Zhu Xi (1130–1200) connecting Heaven, man, and education. Choson Korea (1392–1910) further developed the concept of yue during its cultural renaissance in the fifteenth century to reflect Zhu Xi's Neo-Confucian philosophy and to illuminate in turn why music remained so essential to Neo-Confucian thought.;Commissioned by the Choson court, Song Hyon's Model for Study of Music (Akhak kwebom, 1493) is the culminating musical treatise from this period. It goes beyond the earlier foundational works of Pak Yon and the Kings Sejong, Sejo, and Songjong, to discuss the substance, history, and function of yue in relation to Zhu Xi's Neo-Confucian philosophy. Analysis of the work's important Introduction shows how Song Hyon understood yue in connection with such essential tenets of Neo-Confucianism as the co-existence of principle (li) and material force (qi), the investigation of things and the extension of knowledge, and their contextual application in governance. It also shows how yue was understood to support the daily practice of self-cultivation to the point where “there are no grievances.”;Song Hyon's Model greatly influenced later musical developments in Korea, but his vision of yue was not realized over the subsequent centuries due to a number of historical and critical factors. A re-reading of the work, however offers important insights into what it means to be “musical” then and now. It suggests how music integrates life experiences in ways that embrace both universality and uniqueness of individual and cultural identities in an increasingly global community of self-cultivated persons.