The Semantics of Chinese Music

Analysing selected Chinese musical concepts

| National University of Singapore
HardboundAvailable
ISBN 9789027204080 | EUR 99.00 | USD 149.00
 
e-Book
ISBN 9789027268914 | EUR 99.00 | USD 149.00
 
Music is a widely enjoyed human experience. It is, therefore, natural that we have wanted to describe, document, analyse and, somehow, grasp it in language. This book surveys a representative selection of musical concepts in Chinese language, i.e. words that describe, or refer to, aspects of Chinese music. Important as these musical concepts are in the language, they have been in wide circulation since ancient times without being subjected to any serious semantic analysis. The current study is the first known attempt at analysing these Chinese musical concepts linguistically, adopting the Natural Semantic Metalanguage (NSM) approach to formulate semantically and cognitively rigorous explications. Readers will be able to better understand not only these musical concepts but also significant aspects of the Chinese culture which many of these musical concepts represent. This volume contributes to the fields of cognitive linguistics, semantics, music, musicology and Chinese studies, offering readers a fresh account of Chinese ways of thinking, not least Chinese ways of viewing or appreciating music. Ultimately, this study represents trailblazing research on the relationship between language, culture and cognition.

Publishing status: Available
Table of Contents
Preface
ix–xii
Acknowledgements
xiii–xiv
Tables and figures
xv
1. Introduction
1–36
2. "Where Have the Geese Gone?": Chinese concepts related to sonic experience
37–79
3. "Following one's intonation": Concepts related to musical articulation, interpretation and perception
81–116
4. Being "graceful", "well-moderated" and "restrained": Concepts related to emotional and aesthetic expressions of music
117–179
5. Interpreting Guqin Master Xu's "24 virtues" with NSM
181–257
6. Conclusion
259–269
Appendix I: Xi Shan Qin Kuang 溪山琴況 'The State of Guqin Art of the Xi Shan School'
271–288
References
289–302
Index
303
“For centuries, the essential qualities of Chinese music hinged on the rising, falling, winding and turning of sound and non-sound elements. Non-sound, according to linguist and musicologist Adrian Tien, includes silence, interruptions and rests, as well as the ebb of sounds as they fall towards nothingness. Non-sound was as integral to music as the white space in a work of calligraphy. Tien observes that it was “expected of even the introductory beholder to hear beyond the sonic form”. Listening was not primarily about the ear: it required a freeing of the mind so that other non-sensory stimuli could be perceived.”
“This is an eye-opening account of Chinese ways of thinking and talking about music, and by implication, possible ways of thinking and talking about music in general. Musicology and linguistics meet in this book in a way they have never done before. Original and ground-breaking.”
“A delightful book! It offers a practical and interesting methodology to probe how Chinese think and talk about their music. Chinese talk/write a lot about their music!”
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Levisen, Carsten & Sophia Waters
2017.  In Cultural Keywords in Discourse [Pragmatics & Beyond New Series, 277],  pp. 1 ff. Crossref logo
Tien, Adrian
2017.  In The Pragmeme of Accommodation: The Case of Interaction around the Event of Death [Perspectives in Pragmatics, Philosophy & Psychology, 13],  pp. 183 ff. Crossref logo

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Subjects
BIC Subject: CF/2GDC – Linguistics/Chinese
BISAC Subject: LAN009000 – LANGUAGE ARTS & DISCIPLINES / Linguistics / General
U.S. Library of Congress Control Number:  2014044078