Musical thought in the Chinese tradition is frequently discussed in terms of the Confucian discourse on “ritual and music (lǐyuè 禮樂),” but how this Confucian discourse has been viewed by its critics has seldom been addressed. This paper aims to explore musical thought in the Zhuangzi as a serious critique of Confucian musical discourse. Zhuangzian thinkers doubt whether Confucian ritual music can avoid restricting music within a specific musical tradition, impeding the freedom to enjoy music, and distorting the nature of (...) music. Unlike Confucian discourse, which emphasizes music’s external effects, Zhuangzian musical thought ultimately leads us to focus on the essential questions: how to cultivate one’s own sensibility toward musical harmony, how to open one’s mind to comprehend different musical sources, and how to eventually reach musical Dao. (shrink)

This essay develops a Confucian theory of shame within a framework of related concepts, including concepts of value, personhood, and human flourishing. It proposes that all of these concepts should be understood in terms of a metaphysical concept of harmony. Moreover, it argues that this concept of harmony entails a relational experience of value, such that the experience of self-value and ‘other value’ are deeply intertwined. An important implication of this theory is that the harmonic realization of value that is (...) required for human flourishing necessarily involves heightened sensitivity to shame. The goal of this essay is not only to describe Confucian shame but also to view the human experience of shame through a distinctly Confucian lens. Accordingly, it offers a Confucian take on the pathology of shame, as well as recent debates concerning the role of shame in modern society. (shrink)

Confucius condemned Zheng 鄭 and Wei 衛 music, which had widespread popular appeal. He may have expected music to display fundamental patterns in the natural world and thriving human relationships, tasks that could be compromised by irregular and relatively complicated music like that of Zheng and Wei. He was also convinced that Zheng and Wei music would motivate undisciplined behavior in listeners. A third consideration may have been that even if some benefits of participation would derive from music that included (...) innovations, traditional forms should be preferred because they would further bonds between generations and encourage a sense of community by emphasizing shared inheritance. Confucius seems unaware that innovation can help keep musical traditions alive, but he may have recognized that well-known music facilitates kinds of engagement that novel music cannot. Such engagement was key to what Confucius sought from music and would be reason enough for his judgment. (shrink)