Research On The Musical Aesthetics Thoughts In Wei-Jin Northern And Southern Dynasty

In the Wei-Jin Northern and Southern Dynasty, the overall features of musical aesthetics are two:First is independence. It separated from the field of social ethics and moral field, with a focus on the music itself starting to explore their own musical aesthetic rules. The second is breakthrough. Based on Taoism, Metaphysics of human spirit and the Buddhist philosophy, the musical aesthetics in Wei-Jin North and South Dynasty transcend traditional musical aesthetics represented by the Confucian aesthetics. This paper debates from the category of Chinese musical aesthetics to insight into the difference between Chinese and Western History. The category of Chinese musical aesthetics including "Harmony", "musical image", "refined and popular music", "Musical Education" forms an organic system to reveal the essentialities of musical aesthetic conception in Wei-Jin Northern and Southern Dynasty.As the clue and the master of the paper, part one is focused on the relationship between musical aesthetics and politics, metaphysics, Buddhism and musical practice in Wei-Jin Northern and Southern Dynasty. This paper is based on the time of political situation, social thoughts and art of music itself to reveal the underlying causes of prosperity in the musical aesthetics of this period.The era of climate change in the vane politics is the first cause on the prosperity of musical aesthetics. Metaphysics and Buddhist thoughts as a social thoughts provided theoretical support for aesthetics of music. Musical practice is the basis of musical aesthetics. Together, they contributed to the independence and breakthrough of musical aesthetics in Wei-Jin Northern and Southern Dynasty.The problem of harmony in music had formed system in Wei-Jin Northern and Southern Dynasty including the harmony of music, nature and body. The view of natural harmony was put forward in Wei-Jin Northern and Southern Dynasty, which was related to the core point of "nature" in Metaphysics. The theorists put forward that music was from the harmony of nature which reflected the harmony of the natural properties of everything in the universe. In JI Kang's opinion, people created a harmonious combination of sound, which achieved an emotional outlet to meet people's physical and psychological needs. He denoted that the root function of music was to make people's heart serenity, and the highest state of harmonious music is the unity of goodness and beauty.Musical image in Chinese musical category has two basic elements: the heart and the sound. Under the influence of the metaphysics and Buddhist thought it rooted in music itself against the traditional thoughts to affirm imparlance of the heart and the sound.In his article no sadness and happiness in music, JI Kang put forward the arguments of "no images in sound", criticizing the Confucian concept about music. JI Kang remarked that there was no any images in music in order to strip off the superstition,morality and emotion from music in which the Confucian added. Compared with traditional music aesthetics represented by the Confucian which accounted that the music content was determined and admired subject had no initiative, JI Kang pointed out that "uncertainty in sound", which means music has the characteristics of uncertainty, image in music is ambiguous and volatile.The problem about Refined Music and Popular Music is the hot question in Chinese musical aesthetics. There are two kinds of musical thoughts which were conflicting in ancient China. One was official musical aesthetics thoughts, the other belonged to folk musical aesthetics thoughts. The musical thoughts of literator arised in Wei-Jin Northern and Southern Dynasty between the official and folk musical thoughts. For literators'part, refined music was characterized by "clear","simple","mild" in which they put their emotion for elegant life and lofty quality. Popular Music played an increasingly important role in the literators'spiritual daily life and interactions, and the entertainment and leisure functions of Popular Music can be achieved. RUAN Ji and JI Kang distinguished Refined Music and Pop Music by the musical natural quality, stripping off the moral judgments and aesthetic orientation attached on the music by the ruling class, making music back to their own. Their theoris laid foundation for the independent of musical aesthetics.It pays more attention to education functions of music in traditional Chinese music aesthetics, which gives the meaning of political indoctrination to music education. The theorists in Wei-Jin, Northern and Southern Dynasty developed the point of view about musical function from an aspect of aesthetics and personality, subverting the traditional music aesthetics enlightenment thought. In the era people realized that there was "charm" and "fun" in music instead of education purposes. The theorists also learned the natural personality from Taoist thought against Confucian concept, reflecting people-oriented of metaphysical spirit and consciousness of human life. The proposition of society improvement by music function is the the traditional Confucian ideology, which magnifying music function. In the era theorists reinterpreted the Confucian classics proposition making it more reasonable and credible.