Please use this identifier to cite or link to this item: http://hdl.handle.net/10397/90582
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dc.contributorDepartment of Chinese Cultureen_US
dc.creatorWang, Xen_US
dc.creatorSchoenberger, Cen_US
dc.date.accessioned2021-07-28T01:24:22Z-
dc.date.available2021-07-28T01:24:22Z-
dc.identifier.issn2329-0048en_US
dc.identifier.urihttp://hdl.handle.net/10397/90582-
dc.language.isoenen_US
dc.publisherDuke University Pressen_US
dc.rightsCopyright © 2019 by Duke University Pressen_US
dc.rightsThis is the accepted version of the publication Xiaodun, W., & Schoenberger, C. (2019). The Ancient Chinese Arts of the Ear: Etymology, Meteorology, Musicology. Journal of Chinese Literature and Culture, 6(2), 432-460, DOI: 10.1215/23290048-8042003en_US
dc.subjectEtymologyen_US
dc.subjectMusicen_US
dc.subjectPitchen_US
dc.subjectPoetryen_US
dc.subjectTonalityen_US
dc.titleThe ancient Chinese arts of the ear : etymology, meteorology, musicologyen_US
dc.typeJournal/Magazine Articleen_US
dc.identifier.spage432en_US
dc.identifier.epage460en_US
dc.identifier.volume6en_US
dc.identifier.issue2en_US
dc.identifier.doi10.1215/23290048-8042003en_US
dcterms.abstractThis article draws on historical linguistic evidence, archeological finds, and written accounts of ancient practices to argue that, in the pre-Qin and Han periods of Chinese history, an important stratum of knowledge related to earthly energies, vibrations, pitch, tonality, music, memory, and recitation existed in conceptual parallel to systems of visual knowledge of heavenly bodies, light, color, and the written record. Masters of the former set of skills were frequently blind and entrusted with a distinct set of ritual and advisory functions, including ushering in the seasons, pronouncing on elements of the calendar, predicting military fortunes, and performing official policy admonishments. Of particular importance to this group of experts was the concept of gwinds h or gairs h (f.ng) and a closely related verb for gsing, h gchant, h or gremonstrate h (f.ng). The etymological relationship of these words, along with words for listening, smell, sounds, and fragrance, led to a conceptual blending whereby the genergy h (qi) of wise words and gfragrant h virtue could carry on gwinds h of oral transmission to correct public morality and governance. This led to an etiological hierarchy, in some ways inverted by current standards, in which the purpose of studying pitch and tonality was not, first and foremost, analysis of music qua art but, rather, the encoding, transmission, and influence of natural energies and social harmony.en_US
dcterms.accessRightsopen accessen_US
dcterms.bibliographicCitationJournal of Chinese literature and culture, Nov. 2019, v. 6, no. 2, p. 432-460en_US
dcterms.isPartOfJournal of Chinese literature and cultureen_US
dcterms.issued2019-11-
dc.identifier.scopus2-s2.0-85088278672-
dc.identifier.eissn2329-0056en_US
dc.description.validate202107 bcvcen_US
dc.description.oaAccepted Manuscripten_US
dc.identifier.FolderNumbera0975-n04-
dc.identifier.SubFormID2310-
dc.description.fundingSourceSelf-fundeden_US
dc.description.pubStatusPublisheden_US
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