The Analysis of Ruan Ji's "Music Theory"

Philosophy and Culture 37 (6):61-82 (2010)
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Abstract

Ruan The main feature is to construct a form of music on the system, it will be natural way as a body of music, and music, harmony, order, as the ideal, this extends to the specific society, trying to construct an up and down there, etc., pecking order of human relations the world. Therefore, it is certainly the one hand, the role of Confucian music education, that ritual function in the development of specifications, while the music is in the probation people, through the ritual of the civilizing role, the customs and homogeneity, but on the other hand music theory in the Confucian among the plain into the spirit of Taoism, that "music is hope" and "five sound tasteless," saying that the Confucian so-called "musicians, the music also." turned "to music no desire, "the Silence state that only the heart Cheng gas fixed, non-enforcement of the main desire, in order to appreciate the calm and composed music, so the ideal of music, Ruan Chong Shangya music, and in the hearts of the main level, shall be through the "back to nature" of the training effort, to re-observe this natural way. Ruan Ji's music theory intended to build up the metaphysical system which viewed Tao as the essence of music. He took harmony and order as the idea to construct the high and low order in the world of human relations. Hence, he approved the "yue education "thought of Confucian school because of its function to transform social traditions. On the other hand, Ruan Ji also blended the Taoist prosaic spirit into the" yue education "thought of Confucianism, and changed the aesthetic perception of" music equal to the happiness " to the Taoist "Xujing" realm. He indicated that only the subject who regulates all the desires can realize the prosaic music. Therefore, Ruan Ji praised "the court music", but he indicated that only the subject has the practicism of returning to nature can reflect on Tao

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