Sound Research WIKINDX
Sound Research WIKINDX |
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Displaying 1 - 6 of 6 Parameters |
| Anderson, W. D. (2013). Ethos and Education in Greek Music: The evidence of poetry and philosophy. Harvard University Press. |
 
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| Added by: alexb44 Last edited by: alexb44 30/06/2025, 09:57 | |
| Barker, A. (1990). Greek musical writings: Volume 2, harmonic and acoustic theory (cambridge readings in the literature of music). |
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| Added by: alexb44 Last edited by: alexb44 30/06/2025, 10:05 | |
| Gordon, J. (2022). Hearing, sound, and the auditory in ancient Greece. Indiana University Press. |
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| Added by: alexb44 Last edited by: Mark Grimshaw-Aagaard 17/06/2025, 23:36 | |
| Gu, M. D. (2003). Aesthetic suggestiveness in chinese thought: A symphony of metaphysics and aesthetics. Philosophy East and West, 53(4), 490–513. |
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| Added by: alexb44 Last edited by: alexb44 30/06/2025, 10:00 | |
| Lather, A. (2017). The sound of music. Greek and Roman Musical Studies, 5(2), 127–146. |
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| Added by: alexb44 Last edited by: alexb44 30/06/2025, 10:09 | |
| Tan, L., & Lu, M. (2018). “I Wish to Be Wordless”: Philosophizing through the Chinese Guqin. Philosophy of Music Education Review, 26(2), 139. |
 
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| Added by: alexb44 Last edited by: alexb44 25/06/2025, 13:54 | |
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"what musicians play are neither the strings nor the sounds, but their heart-minds; what the audience hears are neither music nor sounds, but the musicians' innermost beings."
From the Buddhist Śūraṅgama Sūtra, used to explain the concept of mingxin (明心) (clearing the heart-mind). It posits that music is a direct expression of the musician's inner, ethical self. Therefore, the act of playing the guqin is not merely a technical exercise but a transmission of the performer's moral and spiritual state: "Since the heart-mind of the guqin player and the music she plays are one, the heart-mind needs to be clear (mingxin 明心) before the music is played" |
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John Cage had it all figured out:
"One such phrase is dayin xisheng (大音希声), which literally translates as "Big Music, Small Sound": the quieter and more unassuming (“small sound”), the more profound the music (“big music”). By extension, the most profound music, is silence." Daoist concept illustrates that the most profound music is often the quietest and most unassuming. Explains that this idea extends to the point where silence itself can be the most profound music, a state achieved when the performer allows natural sounds to emerge or creates a "void" in the music, which the audience then fills mentally. |
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"Known as zhongsheng (中声) or 'Sounds of the Mean,' this is the most comfortable and harmonious range of sounds that the human ear perceives; they allow one to be peaceful in the body and heart-mind."
Describes a Confucian ideal in guqin music called the "Harmonious Mean" (zhonghe 中和). These sounds are intentionally moderate – not too loud nor soft, high nor low – creating a sense of balance and peace for both the performer and the listener. "Philosophically, however, it is nuanced to refer to an artful avoidance of extremes, bent neither towards one end nor the other. The central guiding principle is moderation. A similar concept can be seen in Aristotle’s theory of the Golden Mean" |
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"While language can guide us towards some aspects of Truth (dao 道) and enable the transmission of wisdom, as Zigong in the opening quotation wishes Confucius to do, it can only do so much. More dangerously, it can detract us away from Truth. In short, words are mere means, as Zhuangzi rather playfully, humorously, and paradoxically articulates (and for the record, using words):
"The fish trap exists because of the fish; once you've gotten the fish you can forget the trap... Words exist because of meaning; once you've gotten the meaning, you can forget the words."" Daoist philosopher Zhuangzi is used to illustrate the classical Chinese suspicion of language as a perfect tool for expressing truth. In this tradition, music and other arts are seen as a more direct means of accessing and expressing philosophical truths, making the 'trap' of words unnecessary. |