Abstract
Music has been integral to Chinese culture, serving as both an art form and a reflection of spiritual pursuits. Over time, however, the inherent joyous spirit within this musical tradition has diminished. Historically, figures like Confucius underscored music’s significance. He not only compiled the “Book of Songs” but also taught them through stringed instruments, integrating music into education and daily life. Despite such foundations, the “Classic of Music” was lost over time, and music education was neglected, leading to a decline in musical literacy among the Han people. The introduction of Buddhism, with its emphasis on life’s inherent suffering, further influenced Chinese culture, shifting focus from joy to introspection and liberation from worldly attachments. This perspective, while valuable, contributed to the suppression of the joyous spirit in Chinese culture. Neo-Confucianism during the Song and Ming dynasties, influenced by Buddhist thought, emphasized “preserving heavenly principles and eliminating human desires,” leading to the suppression of emotional needs. This overemphasis on moralization limited the creative freedom of poetry and music, confining them to moralizing functions. Rediscovering the joyful spirit of Chinese culture is essential for cultural inheritance and innovation. As Xunzi stated, “Music is joy; it is an inevitable aspect of human emotions.” Embracing this perspective can inspire creativity and make learning and life more meaningful. Retired Professor Hsueh-li Cheng (UH Hilo) has written lyrics of The Three Joys Song from the Analects to rebuild the joyful spirit, MTV of the song and calligraphy will be presented and shown in the workshop.
Presenters
Liangjie DongChief Scientist, Hawaii Institute of Interdisciplinary Research, Hawaii, United States
Details
Presentation Type
Theme
KEYWORDS
REBUILDING,JOYFUL SPIRIT,CONFUCIUS'S ANALLECTS,BUDDHISM,SUFFERING,NEO-CONFUCIANISM,MUSIC,CALLIGRAPHY
