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Download (2MB) Jo, Jung Eun. (2012) Analysis of the discourse on music of the Lüshi chunqiu mainly in comparison with the “Yuelun” chapter of the Xunzi. PhD Thesis, SOAS (School of Oriental and African Studies) http://eprints.soas.ac.uk/13533 Copyright © and Moral Rights for this thesis are retained by the author and/or other copyright owners. A copy can be downloaded for personal non‐commercial research or study, without prior permission or charge. This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the copyright holder/s. The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the copyright holders. When referring to this thesis, full bibliographic details including the author, title, awarding institution and date of the thesis must be given e.g. AUTHOR (year of submission) "Full thesis title", name of the School or Department, PhD Thesis, pagination. Analysis of the Discourse on Music of the Lüshi chunqiu mainly in comparison with the “Yuelun” chapter of the Xunzi Jung Eun Jo Thesis submitted for the degree of PhD in 2012 Department of China and Inner Asia School of Oriental and African Studies University of London １ Declaration for PhD thesis I have read and understood regulation 17.9 of the Regulations for students of the School of Oriental and African Studies concerning plagiarism. I undertake that all the material presented for examination is my own work and has not been written for me, in whole or in part, by any other person. I also undertake that any quotation or paraphrase from the published or unpublished work of another person has been duly acknowledged in the work which I present for examination. Signed: Date: 22 February 2012 ２ Abstract This dissertation analyses the “Dayue”, “Chiyue”, “Shiyin”, “Guyue”, “Yinlü” and “Yinchu” chapters of the Lüshi chunqiu mainly in comparison with the “Yuelun” chapter of the Xunzi. This comparative analysis aims to clarify the viewpoints on music of the Lüshi chunqiu by contrasting them with those of the “Yuelun”, while suggesting possible reasons for their diverging viewpoints as well as contributory factors behind the rise of musical discourse in around the third century BCE. At this time, a recognition of the inherent tendency to enjoy music and of the resonance between music and qi resulted in music becoming a subject of special attention. The Lüshi chunqiu argues for the indispensability of music based on the inherent desire for music while criticizing extravagant music on the ground that it harms life. Musical sound was believed to affect the flow of qi in the natural world, and the Lüshi chunqiu reinforces this belief by addressing the cosmic harmony of music. Despite its recognition of the desire for music, the “Yuelun” mainly perceives music as a tool for edification rather than an object of desire. It argues for the edifying effect of music while suggesting resonance between music and qi in the body, and with this strong ethical implication, musical harmony is closely related to its function to achieve social harmony. The Lüshi chunqiu mainly sees music as currents of air that serve as a sensory stimulus or as a medium for affecting qi. In both cases, music enhances what belongs to Heaven: it nurtures life by providing pleasure or promotes natural harmony by resonating with qi. The emphasis on the physical property of music and its contribution to intrinsic qualities can be suggested as the central idea on music of the Lüshi chunqiu, contrasted with the “Yuelun” that discusses music with moral concerns. ３ Table of Contents 1. Introduction .................................................................................................... 7 1.1 Aim and Methodology ....................................................................... 7 1.2 Outline ............................................................................................. 13 1.3 Keywords......................................................................................... 17 1.4 Texts ................................................................................................ 18 2. Indispensability of music ............................................................................... 26 2.1 Innate desire for music: responses to the condemnation of music from the “Dayue” and “Yuelun” ............................................................. 26 2.2 Continuing existence of music: analysis of the “Guyue”................... 38 2.3 Following issues .............................................................................. 49 3. Two perceptions of music: an object of desire versus a tool for edification .... 50 3.1 Music as an object of desire: appropriateness with no extravagance . 50 3.1.1 The reason for rejecting extravagant music: extravagant music is not pleasant ............................................................................. 51 3.1.2 The benefit of appropriateness: appropriateness brings pleasure 55 3.1.3 Li and music in the “Shiyin” ..................................................... 61 3.2 Music as a tool for edification: the particular viewpoint of the “Yuelun” ...................................................................................................... 68 3.2.1 The effects of music in the Shujing, Zuo zhuan and Guoyu ....... 68 3.2.2 The effects of music in the “Yuelun” ........................................ 77 3.2.3 The ideal type of music from the viewpoint of the “Yuelun” ..... 80 3.3 The Lüshi chunqiu and “Yuelun” imply different interpretations of desire, qi and “li and music” ........................................................... 83 4. Music from xin in the “Yinchu” versus music to xin in the “Yuelun” ............. 86 4.1 The relationship between music and xin in the “Yinchu” .................. 86 4.1.1 Music as an expression of feeling: the diagnostic function of music ........................................................................................ 87 4.1.2 A shifted viewpoint in the last part of the “Yinchu”: music as an external stimulus ....................................................................... 94 4.2 The way of music influencing feeling and behaviour ...................... 102 4.2.1 Emphasis on external standards in creating music ................... 102 ４ 4.2.2 The concepts of xin 心, qi 氣 and qing 情 ......................... 105 4.3 Little recognition of the edifying effect of music in the Lüshi chunqiu and emphasis on the edifying effect in the “Yuelun” and “Yueji” . 123 5. The cosmic harmony of music: different interpretations of its cosmic significance between the “Dayue” and “Yueji” .......................................... 126 5.1 Musical harmony in the “Dayue” ................................................... 126 5.1.1 Taiyi 太一 or dao 道: the origin of music ............................ 127 5.1.2 Duliang 度量 and shi 適: appropriateness in music ............. 133 5.1.3 Ping 平: a necessary condition for enjoying music................. 134 5.1.4 Gong 公: statecraft of a successful ruler ................................ 139 5.1.5 Cosmic harmony of music in the “Dayue” .............................. 143 5.2 Musical harmony and the concept of “li and music” in the “Yuelun” and “Yueji” .................................................................................. 148 5.2.1 Musical harmony in the “Yuelun” .......................................... 149 5.2.2 The concept of “li and music” in the “Yueji” .......................... 152 5.2.3 Musical harmony and “li and music” in the Lunyu, Guoyu and Zuo zhuan ............................................................................... 157 5.3 Harmonious sounds versus social harmony achieved by music: leading to different interpretations of the cosmic harmony of music and of the concept of “li and music” ............................................................. 165 6. Twelve pitch-standards: generated by the Sanfen sunyi fa and assigned to the twelve months ........................................................................................... 168 6.1 Translation of the chapter title “Yinlü” 音律 ................................. 169 6.2 Sanfen sunyi fa .............................................................................. 178 6.2.1 Sanfen sunyi fa for the five notes in the Guanzi and Shiji ........ 179 6.2.2 Sanfen sunyi fa for the twelve pitch-standards in the Lüshi chunqiu and Huainanzi ............................................................ 181 6.2.3 Sanfen sunyi fa for the twelve pitch-standards in the Han shu . 183 6.2.4 Sanfen sunyi fa for the twelve pitch-standards in the Shiji: coexistence of the methods of the Lüshi chunqiu and the Han shu ................................................................................................ 186 6.2.5 Special features in the evolution of the Sanfen sunyi fa ........... 191 ５ 6.3 Correspondence between the twelve pitch-standards and twelve months ......................................................................................... 196 6.4 What does the Lüshi chunqiu suggest about the term yinlü, Sanfen sunyi fa and the link between pitch-standards and months? .......... 202 7. Conclusion .................................................................................................. 205 Bibliography .................................................................................................... 211 ６ 1. Introduction 1.1 Aim and methodology This dissertation aims at elucidating
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