By Erica Fox Brindley
Explores the spiritual, political, and cultural importance attributed to tune in early China.
In early China, conceptions of song turned very important culturally and politically. This attention-grabbing publication examines quite a lot of texts and discourse on tune in this interval (ca. 500–100 BCE) in gentle of the increase of spiritual, protoscientific ideals at the intrinsic concord of the cosmos. via monitoring how track started to tackle cosmic and spiritual importance, Erica Fox Brindley exhibits how tune used to be used as a device for such corporations as country unification and cultural imperialism. She additionally outlines how musical discourse followed the expansion of an particular psychology of the feelings, served as a basic medium for non secular attunement with the cosmos, and was once idea to have application and efficiency in medication. whereas discussions of track in country ritual or as a cultured and cultural perform abound, this booklet is exclusive in linking song to spiritual trust and demonstrating its convergences with key spiritual, political, and highbrow variations in early China.
“Brindley’s learn of track in early China makes an enormous contribution to our realizing of this hugely consequential artwork shape … by way of no longer proscribing its research to a selected textual content or time, the publication explores broad-ranging connections that may in a different way stay vague if restricted by way of now out of date divisions corresponding to Confucianism or Daoism.” — Journal of chinese language Religions
“Taking complete benefit of the plethora of newly excavated manuscripts, this publication is a great addition to the learn of early chinese language highbrow and cultural background … [the ebook] is a crucial research that breaks new flooring in a unfortunately understudied region of chinese language thought.” — Journal of Asian Studies
“This is a gigantic contribution to the sphere by way of addressing a few early conceptions of track and its social, cultural, and political position within the constructing political and cosmic method in accordance with correlative pondering, or because the writer places it, a ‘cosmology of mystical resonance.’” — Joanne D. Birdwhistell, writer of Mencius and Masculinities: Dynamics of energy, Morality, and Maternal Thinking
Erica Fox Brindley is affiliate Professor of heritage, Asian reports, and non secular reviews on the Pennsylvania country collage. She is the writer of Individualism in Early China: Human organisation and the Self in concept and Politics.
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Additional info for Music, Cosmology, and the Politics of Harmony in Early China (SUNY series in Chinese Philosophy and Culture)
And I picked up from that, and then I went home, started playing with the records, you know, records like Max Roach, Philly Joe Jones, and Miles and Art Blakey and the Jazz Messengers. And, in about a month or so, I developed my independence and everything. And then I started studying piano on the side with Muhal Richard Abrams. And another friend of mine, Pat Patrick, helped me out. I used to go to these jam sessions and didn’t know how to play rhythm changes, you know. ” You know, and so Pat came up my house.
This was before Bruce was really known. And Hugh McCracken had brought him in. ” And sure enough, sure enough, he’s one of the biggest, you know. It’s amazing. Ben: It brings to mind that when you’re living in the middle of history, it doesn’t feel any different than every other day. History feels ordinary from the inside. Steve: It felt like every day. I mean, I was into my own thing. I was into trying to play this drum thing, and I’m sure Huey introduced me to Bruce, but it was just like, you know, you 60 meet so many people, you know what I mean?
And we used to have one of those short wave radios where we used to listen to European music and the Grand Old Opera, when radio was happening. And classical concerts and popular music. Then, when I got into high school, my piano studies stopped for awhile. And since I couldn’t play the piano in the concert band, I tried bass, acoustic bass, for about half a semester. And then I made a switch into the drum department, where I played bass drum, snare drum, in marching band, for the football games.