"sound Dirge On The Confucian Musical Aesthetic Thinking The Same

In this paper, the author selected the aesthetic works Shengwuaiyuelun (Music Has No Sorrow or Joy) which written by the famous Wei and Jin dynasties'personage Ji Kang, and the correlation with Confucian Music Aesthetics, as his main research object. The article started with an overview of existing research results in the field of the to be discussed topic, in order to objectively regard the success and failure of the predecessor's studies, and clarify the research points of this paper. Afterwards, the article has interlinked from Ji Kang and Confucianism in the ideological concept, and furthermore, on the stage of the music philosophy main body and esthetic category, a more comprehensive and thorough discussion has be made on the correlation of Shengwuaiyuelun and Confucian Music Aesthetics. In the last parts, integrated the above study, the association between Shengwuaiyuelun and Confucian Music Aesthetics has been discussed.The main body of this article constitutes by three chapters, the introduction and the conclusion were respectively placed before and after the main body. In the introduction, the motivation why the topic was selected and the purpose of the research were briefly expressed. Chapter one, namely the literature summary, the present situation and the success and failure of this research were pointed. Chapter two, say the reason of association between Ji Kang and Confucianism, a theoretical support were intended to the possibility of the correlation between Shengwuaiyuelun and Confucian Music Aesthetics. It mainly involved that, Ji Kang and Confucianism have interlinked in ideological concept, the special Social history and cultural trends in the dynasties of Wei and Jin had influenced Ji Kang, and Ji Kang's personal experience and the complexity of his thought. Chapter three, namely the study on the interlink points between Shengwuaiyuelun and Confucian Music Aesthetics. As the main body of the article, it has four sections. Several subtopics were focused on in the first section, such as, the relation between the name and reality about Shengwuaiyuelun; whether Sound and Music the two concepts in Shengwuaiyuelun have correspondence to the Confucian music theory. These subtopics were used as one of the theoretical premises in this chapter. In the second section, the interlink between Shengwuaiyuelun and Confucian music theory were discussed on the stage of philosophy main body and the philosophy main body, and the music interior transcendence, and it would be used as the philosophical base for the interlink on the level of aesthetics between Shengwuaiyuelun and Confucian Music Theory. In section three, the interlink between Shengwuaiyuelun and Confucian Music Theory was discussed in the following level: the Harmony, the Beauty, the Perfection, the Elegant, and the Correctitude of music, Quietness and Elegance oriented aesthetic aspire and music grade. In the fourth section, by discussing and combining with Ji Kang's proposition"Nature beyond the factions", and in addition of the contents above, The interlink on the theoretical attribute of music functions (including general functions and intrinsic transcendent functions) between Shengwuaiyuelun and Confucian music theory was summarized. In the conclusion chapter, related the full text above, the article has outlined the interlink of Shengwuaiyuelun and Confucian music theory, and has also pointed out the interlink on music functions between Shengwuaiyuelun and Confucian music theory. Therefore, it is biased to simply define MNSJ into Form Autonomy.