Axiology and Textural Features of Chinese Folk Music
DOI:
https://doi.org/10.52575/2712-746X-2025-50-4-975-980Keywords:
China, folk music, aesthetics, Shijing,, Confucian ethics, Zhou and Han, imperial court, state, upbringing, education, symbolism, nature, manAbstract
The work reveals the cultural, ideological and socio-cultural contexts of the music of dynastic China of the Qin, Tang, Song, and other eras. It is shown that, firstly, they contained sacred motifs, meanings and connotations reflecting the basic dogmatic rules and paradigmatic principles of the dominant Confucian ethics; secondly, finding expression in the figurative intonation structure of music and being reflected in its characteristics, they formed a qualitative and unique texture of national musical art. According to the author, this is where we can trace the origins of the symbolic convention, the abstractly mysterious statics of religious hymn images and ceremonial genres consecrated by centuries-old tradition, which is so characteristic of the model of Chinese musical culture; the correlation of musical tones with the seasons of the year and day, individual colors, certain planets, body organs, etc., adopted in the Chinese musical system; the combination of musical images with philosophical motifs of the world cosmogony, in which the musical archetype acts as a grandiose sacred cosmic force reigning over the world.
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