Among the various claims by early Chinese philosophers to hear someone’s de 德 or virtue through their music, the most astonishing statement may be found in the Yue Ji 樂記 : “Only Music cannot be faked”. While this classic Ru 儒 musical treatise on the development of human excellence in accordance with music is wide-ranging, the aim of this essay is narrow, in that it seeks to interpret this single sentence of the text by way of an explanation of the (...) reciprocal patterning between authentic emotions, character, and sound described by the Yue Ji. (shrink)

Ji Kang's 嵇康 argument against the presence of emotions in music in “Sound Has Neither Sorrow nor Joy” (sheng wu ai le lun 聲無哀樂論) relies centrally on his claim that harmonious sounds are “without image” (wu xiang 無象). In contrast, the Ru 儒 (Confucian) view of music is that it transmits images and emotions between musicians and listeners, which provides the basis for the musical cultivation of virtue (de 德). In this paper, I provide a reading of Ji Kang's argument (...) that elucidates key differences between music with and without images, and offer an analysis of these differences in terms of intransitive musical meaning. (shrink)

According to the Zhuangzi, listening to the music of nature draws the self into the silence required to experience things in their self-arising spontaneity. How does this happen? This essay answers by way of the Yue Ji (Record of Music), where it is said that great music embodies the timeliness of nature. Using both texts, I develop timeliness as the opportune moment, temporal natality, and nature’s memory. Listening to the timely music of nature is shown to be an act of (...) ecological perception that, by releasing time in favor of timeliness, reveals our aesthetic accordance with nature’s own becoming. (shrink)

According to the Zhuangzi, listening to the music of nature draws the self into the silence required to experience things in their self-arising spontaneity. How does this happen? This essay answers by way of the Yue Ji (Record of Music), where it is said that great music embodies the timeliness of nature. Using both texts, I develop timeliness as the opportune moment, temporal natality, and nature’s memory. Listening to the timely music of nature is shown to be an act of (...) ecological perception that, by releasing time in favor of timeliness, reveals our aesthetic accordance with nature’s own becoming. (shrink)

While Stephen Davies argues that a debate on cross-cultural aesthetics is possible if we adopt an attitude of mutual respect and forbearance, his fellow symposiasts shed light upon different aspects which merit a closer scrutiny in such a dialogue. Samer Akkach warns that an inclusivistic embrace of difference runs the risk of collapsing the very difference one sought to understand. Julie Nagam underscores that local knowledge carriers and/or the medium should be involved in such a cross-cultural exploration. Enrico Fongaro searches (...) for a way of experiencing cross-cultural art such that it can lead to a transformative experience Relatedly, Meilin Chinn uses the analogy of friendship to explore the edifying dimension of experiencing an art form. Lastly, John Powell studies whether Dickie’s Institutional Theory can be meaningfully used to identify works of art in Western and non-Western traditions. (shrink)