目录
NCIENT CHINA
The Dispute between Ancient and Modern: the Core Issue as Regards the Music Theory in the Spring and Autumn Period
The Idea about the Coexistence of 'Benevolent Government' and ' Hegemony' in Ancient China and Its Modern Formation
The Co-Existence of the Negative and the Positive: A Survey of the Sacrificial Activities before and after the Foundation of the Ming Dynasty
Filial Piety(孝) : From Family Ethics to Political Obligation-Based on The Classic of Family Reverence(《孝经》)
CONTEMPORARY CHINA
A New Historical Turning Point in the Growth of China's Economy
The Civil Society Theory and Its Research Route-Based on Chinese Characteristic Socialist Society
Building Legal Boundaries between Human Association and Corruption-Legal Regulations on 'Reciprocity of Gift' among Officials
WESTERN PHILOSOPHY IN CHINA
On the Main Trend of the Western Ancient Epistemology: The Explorations of Plato, Cicero and Augustine
Poetics and Mimesis-A Reading of the First Paragraph of the First Chapter of Aristotle's On Poetics
An Interpretation of Aristotle's Conception of Practical Logos
摘要
Nonetheless, under the cir- cumstances of the overall ritualization of the politics in Western Zhou Dynasty, music is an artistic issue, but all the more a socio-political even natural issue.Its interpretations with respect to the world wherein man lives are necessarily en- compassing.On this account, at that time, if new music could constitute a power capable of opposing the traditional ritual and musical politics, its destruc- tiveness would surely be enlarged to the extent of paralleling the constructiveness of the old music.To put it another way, where the positive value of old music is expanded, there is necessary criticism regarding the negative value of new music.
Ⅳ.The Historical Trait of the Dispute between Ancient and Modem and the Subsequent Influence
As regards the disputes between ancient and modem, elegant and vulgar of the music in the Spring and Autumn Period, in addition to literatures of classics, Huang Ming, a modem scholar, has also obtained new development via analyses with respect to the bronze sacrificial vessels from the Western Zhou Dynasty to the Spring and Autumn Period.According to him, the inscriptions on the most representative instrument of the Western Zhou--bronze bells, more or less reflect the purposes of making musical instruments at that period, i.e., supplementing the filial conducts, praying blessing and entertaining gods.In the inscriptions of the bronze vessels of the Western Zhou Dynasty, there is only one case directly pointing out the entertaining function of music, that is the " Tianyin performed the first playing" inscribed on Tianyin bell 天尹钟. Here the " playing (nong 弄) " is very, important.According to Huang Ming's statement, " Tian),in bell was casted in the late stage of Western Zhou which had begun to decline since King Yi and tile ritual system had also gradually collapsed...It's understandable that there was the character 'nong' inscribed by Tianyin on the bell.This indi- cates that at that time at least a part of the aristocrats had broken away from the os- sifted ritual system and sought for the full realization of the desires of life.
