Musical aesthetics in Chinese traditional music

this article analyzes the aesthetics of traditional Chinese music. The author provides a brief description of instrumental and vocal music, as well as their features. Particular attention is paid to traditional vocal music (haozi, shangge and xiaodao). Their relationship with Confucianism and Taoism is described. It has been established that the aesthetic foundations of Chinese music were formed 2000 years ago. They relied on the one hand, on the principle of the “golden mean” (harmony, harmony, friendship, tranquility), on the other, on softening contradictions and limiting contrast. Thus, the essence of musical beauty in the ancient treatises of Chinese musical science was defined as the unity of opposites, which was reflected in the rhythm, motive and harmony of music. Their consistency, relativity and, as a consequence, softness, smoothness and immensity of natural integrity were a semblance of the inexhaustible generative force of the whole world. The significant genre and style diversity characteristic of Chinese folk music is associated with differences in geographical and climatic conditions, which are very significant over the vast territory of this country, with the peculiarities of the traditions of life in different regions, the multinational composition of the population, historical traditions, forms of life (vocal and instrumental).

music, aesthetics, China, tradition, vocals, art, culture