Who is the author of The Theory of Music Without Sorrow ?

"The Theory of Music Without Sorrow".The author isJi Kang"The Theory of Music without Sorrow" is an ancient Chinese aesthetic treatise. This article is nearly 10,000 words, which summarizes Ji Kang's thoughts. In the text, "Qin Ke" and "Dongye" are used.

Master", the 8 times of the withered branches and things are difficult to argue, repeatedly demonstrate, and purposefully refute the traditional Confucian music theory, and then expound the author's ** thoughts.

It is not the same thing to assert that ** belongs to the objective things of the outside world, and that grief and happiness belong to the subjective emotions of the heart, which is not the same thing, and asserts that ** itself has no grief and joy to speak of, in order to deny the Confucian idea of etiquette and music.

Aesthetic value

The Theory of Music without Sorrow also raises many important questions about aesthetics from the contradictory phenomena that exist in itself.

Such as the relationship between creation, performance and appreciation; the relationship between the diversity of emotional expressions and the diversity of expressions; The relationship between composition and improvisation; the relationship between the performer and the instrument; **The relationship between appreciation and reflexive association, etc.; It also discusses the different social functions of ** in ancient societies and their "aftermath". This is all untouched in Confucianism, and it is of pioneering significance.

"The Theory of Music without Sorrow" is a ** aesthetic work written by Ji Kang (224 263), a guqinist, writer and thinker in the late Wei Dynasty during the Three Kingdoms period. The full text is nearly 10,000 words, using the question and answer method of eight debates between "Qin Ke" (the embodiment of Confucianism) and "Dongye Master" (the author's own situation), systematically refuting Confucianism, and comprehensively expounding the author's own contradictory thoughts. The full text will "The sound should be based on good and evil, and there is nothing about sorrow and joy; Mourning and music should be emotional, but it is not tied to the sound", "the heart and the sound, clearly are two things" as the central argument to criticize the vulgar sociological tendency in Confucian thought, and at the same time put forward the relationship between creation and performance, appreciation, the relationship between the diversity of emotional expression and the diversity of performance, the relationship between the performer and the instrument, the relationship between appreciation and conditioned reflex association, and other important aesthetic issues not covered by the Confucian theory, with clear views, novel insights, and pioneering significance in theory, in modern times There is still some significance in aesthetic theory.

Lu Xun once edited Ji Kang's works and spoke highly of them.

Ji Kang's "Theory of Sound Without Sorrow" not only discusses whether there is mourning and whether it can change customs, but also involves a series of major issues in aesthetics, that is, the ontology and essence of the problem, the relationship between sound and emotion in appreciation, and the functional problem.

Ji Kang also put forward the view of "sound without sorrow" in "The Theory of Sound without Sorrow", that is, ** is the sound of Hakka's only existence, and mourning is the emotion produced after people's spirit is touched, and there is no causal relationship between the two. In Ji Kang's words, it is "the heart and the voice, which are clearly two things".

The idea of detaching from feudal political utilitarianism and the official ideology of advocating the simultaneous development of "ritual and music and criminal government" reflected in the Theory of Sound and Joy constitute the source of the two major trends of aesthetic thought in Chinese feudal society.