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Becoming Sages: Qin Song and Self-Cu...

Wu, Zeyuan.

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Becoming Sages: Qin Song and Self-Cultivation in Late Imperial China.

Record Type:	Electronic resources : Monograph/item
Title/Author:	Becoming Sages: Qin Song and Self-Cultivation in Late Imperial China./
Author:	Wu, Zeyuan.
Published:	Ann Arbor : ProQuest Dissertations & Theses, : 2020,
Description:	269 p.
Notes:	Source: Dissertations Abstracts International, Volume: 82-08, Section: A.
Contained By:	Dissertations Abstracts International82-08A.
Subject:	Music. -
Online resource:	https://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=28245190
ISBN:	9798691226434

Becoming Sages: Qin Song and Self-Cultivation in Late Imperial China.
Wu, Zeyuan.

Becoming Sages: Qin Song and Self-Cultivation in Late Imperial China. - Ann Arbor : ProQuest Dissertations & Theses, 2020 - 269 p.

Source: Dissertations Abstracts International, Volume: 82-08, Section: A.

Thesis (Ph.D.)--The Ohio State University, 2020.

This item must not be sold to any third party vendors.

This dissertation aims to understand the significance of qin songs (songs accompanied on the qin, the seven-stringed zither) to their practitioners in late imperial China. The qin was known as an instrument for self-cultivation throughout Chinese history. However, our current knowledge of how qin music was used for self-cultivation purposes in premodern China is largely limited to the ideological aspect, awaiting to be supported or modified by investigations of specific historical practices. Looking into different qin practitioners' works, activities, social connections, and life experiences, this dissertation shows how they made various use of qin song-the musical form and activities related to it-to achieve their goals of becoming the ideal self.I argue that late imperial qin songs were often composed and edited for the purpose of communicating general moral principles and particular moral exemplarity to a larger community of the like-minded (zhiyin). As a result, activities related to these songs allowed the practitioners to extend their social influence on their way of pursuing sagehood. The social function of the songs challenges today's widespread assumptions that both qin music and self-cultivation are primarily meditative and solitary.I further argue that many qin songs emerged and evolved as a result of qin practitioners' emphasis on the communicative power of music compared to mere words, which responded to the new changes and concerns during the late imperial period. Their continuous quest for the most effective means of moral communication may also help explain the eventual decline of qin song-as opposed to the purely instrumental form of qin music-by the eighteenth century, which awaits further studies.

ISBN: 9798691226434Subjects--Topical Terms:

516178
Music.
Subjects--Index Terms:

Qin

Becoming Sages: Qin Song and Self-Cultivation in Late Imperial China.
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500 $a Source: Dissertations Abstracts International, Volume: 82-08, Section: A.
500 $a Advisor: Goh, Meow;Sieber, Patricia.
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520 $a This dissertation aims to understand the significance of qin songs (songs accompanied on the qin, the seven-stringed zither) to their practitioners in late imperial China. The qin was known as an instrument for self-cultivation throughout Chinese history. However, our current knowledge of how qin music was used for self-cultivation purposes in premodern China is largely limited to the ideological aspect, awaiting to be supported or modified by investigations of specific historical practices. Looking into different qin practitioners' works, activities, social connections, and life experiences, this dissertation shows how they made various use of qin song-the musical form and activities related to it-to achieve their goals of becoming the ideal self.I argue that late imperial qin songs were often composed and edited for the purpose of communicating general moral principles and particular moral exemplarity to a larger community of the like-minded (zhiyin). As a result, activities related to these songs allowed the practitioners to extend their social influence on their way of pursuing sagehood. The social function of the songs challenges today's widespread assumptions that both qin music and self-cultivation are primarily meditative and solitary.I further argue that many qin songs emerged and evolved as a result of qin practitioners' emphasis on the communicative power of music compared to mere words, which responded to the new changes and concerns during the late imperial period. Their continuous quest for the most effective means of moral communication may also help explain the eventual decline of qin song-as opposed to the purely instrumental form of qin music-by the eighteenth century, which awaits further studies.
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