Harmoniousness : essays in Chinese musicology /  by Jao Tsung-i ; edited and translated by Colin Huehns.

Includes bibliographical references (pages 353-375) and index.

"From prehistoric bone flutes to Confucian bell-sets, from ancient divination to his beloved qin, this book presents translations of thirteen seminal essays on musical subjects by Jao Tsung-i. In language as elegant and refined as the ancient texts he so admired, his journey takes readers through Buddhist incantation, the philosophy of musical instruments, acoustical numerology, lyric poetry, historical and sociological contexts, manuscript studies, dance choreography, repertoire formulation, and opera texts. His voice is authoritative and intimate, the expert crafting his arguments, both accessible and sophisticated, succinct and richly tapestried; and concealed within a deft modesty is a thinker privileging us with his most profound observation. The musician's musician, the scholar's scholar, bold yet cautious, flamboyant yet restrained, a man for all seasons, a harmoniousness of time and place"-- Provided by publisher.

Part 1

Qin 琴

1 The Philosophy of the Guqin 古琴的哲學 3

2 An Investigation of Juanzi’s Qin Heart: Starting with the Elegant Qin of Guodian, a Discussion of the Qin Scholarship of Laozi’s Disciples 涓子《琴心》考—由郭店雅琴談老子門人的琴學 43

3 Several Issues Related to the First Volume of the Anthology for a Mentor of Intoning the Scriptures: ‘Śakra’s Musician Pañcavaśikhin’s Qin Songs Intoned’ 從《經唄導師集》第一種〈帝釋（天）樂人般遮琴歌唄〉聯想到的若干問題 73

Part 2

Archaeology 考古

4 Using Artifacts Unearthed at Jia Lake to Discuss the Early Maturity of Ancestral Musical Wisdom 從賈湖遺物談先民音樂智慧的早熟 87

5 Bamboo Slips of Yinque Mountain: ‘Heaven and Earth, the Eight Winds, the Five Elements, the Guest-Host Polarity, the Five Notes: Their Rightful Places’: An Initial Investigation 銀雀山簡〈天地八風五行客主五音之居〉初探 104

6 From Inscriptions on Bells Found in the Marquis Yi 乙 of Zeng’s Tomb, a Discussion of the Science of Bell Modes and Tunings in Ancient China 由曾侯鐘銘談古代的鐘律學 126

7 Further Discussion of Bronze Drums 銅鼓餘論 149

Part 3

Dunhuang 敦煌

8 Critical Analysis of the Crisscrossing Cultural Currents of Historical Events Surrounding the Dunhuang Pipa Scores 琵琶譜史事來龍去脈之檢討 215

9 Introduction to Collected Essays on Dunhuang Pipa Scores《敦煌琵琶譜論集》序言 228

10 The Relationship between Dunhuang Pipa Scores and Dance Scores 敦煌琵琶譜與舞譜之關係 232

11 Rearrangement and Reorganisation of Musical Repertories in the Later Zhou Dynasty and Issues relating to the Study of Lyric Song at the Beginning of the Song Dynasty: Using Dunhuang Dance Scores to Discuss the Later Zhou Dynasty’s Rearrangement and Reorganisation of Musical Repertories Together with the Origins of Liu Yong’s Anthology of Musical Repertories 後周整理樂章與宋初詞學有關諸問題—由敦煌舞譜談後周之整理樂章兼論柳永《樂章集》之來歷 276

12 The Dunhuang Manuscript ‘Siddhaṃ Chapter’ and the Qin Composition ‘Siddhaṃ Chapter’ 敦煌〈悉曇章〉與琴曲〈悉曇章〉 312

Part 4

Lyrics, Operas 歌詞、戲曲

13 The Mystery of the Southern Opera God of Theatrical Entertainment’s Operatic Incantation ‘Luo-Li-Lian’ 南戲戲神咒“囉哩嗹”之謎 329

Bibliography 353

Local access dig.pdf. [Jao-Harmoniousness.pdf]

Link to Brill eBooks & DOAB Open Access Books via BC Libraries

Listening to China : sound and the Sino-Western encounter, 1770-1839 / Thomas Irvine.
Includes bibliographical references and index.

Introduction : Process and perspective -- China and the enlightened ear -- Soundscapes in the contact zone : Listening in Canton, 1770-1839 -- Charles Burney discovers China -- Sound and the Macartney Mission, 1792-1794 -- Reading Burney listening to China -- Listening to China with Forkel and Marx -- Epilogue : sound and the Sino-Western encounter.

From bell ringing to fireworks, gongs to cannon salutes, a dazzling variety of sounds and soundscapes marked the China encountered by the West around 1800. These sounds were gathered by diplomats, trade officials, missionaries, and other travelers and transmitted back to Europe, where they were reconstructed in the imaginations of writers, philosophers, and music historians such as Jean-Philippe Rameau, Johann Nikolaus Forkel, and Charles Burney. Thomas Irvine gathers these stories in Listening to China, exploring how the sonic encounter with China shaped perceptions of Europe’s own musical development. Through these stories, Irvine not only investigates how the Sino-Western encounter sounded, but also traces the West’s shifting response to China. As the trading relationships between China and the West broke down, travelers and music theorists abandoned the vision of shared musical approaches, focusing instead on China’s noisiness and sonic disorder and finding less to like in its music. At the same time, Irvine reconsiders the idea of a specifically Western music history, revealing that it was comparison with China, the great “other,” that helped this idea emerge. Ultimately, Irvine draws attention to the ways Western ears were implicated in the colonial and imperial project in China, as well as to China’s importance to the construction of musical knowledge during and after the European Enlightenment. Timely and original, Listening to China is a must-read for music scholars and historians of China alike.

"Listening to China is our first important foray in the field of global music history, which is rapidly establishing itself as the main area of growth in music studies. Compellingly and expertly written by a seasoned scholar, it tells the story of how Westerners experienced China with their ears at the time of the Sino-Western encounter of ca. 1800, and what this meant for their own construction of musical knowledge. It explores two kinds of Western practices of listening in and to China: ear-witness accounts by travelers to China, including diplomats, trade officials, and missionaries; and writings about Chinese music by European writers, philosophers, and music historians who constructed China's sound in their imaginations. The book's primary objective is a better understanding of how Westerners gained/gathered sonic knowledge of China and to investigate the aural dimensions of the Sino-Western encounter At the same time, the book reconsiders the idea of a specifically Western music history by showing how it was precisely the comparison with a great "other"--China--that helped the idea itself to emerge. Ultimately, the book draws attention to the importance of China for the construction of (musical) knowledge during and following the European Enlightenment."-- Provided by publisher.

Local access dig.pdf. [Irvine-Listening to China.pdf]