A Research On Psychological Aesthetics Of Chinese Ancient Music

Music psychological aesthetics is a subject of philosophical thinking based on music.It is an interdisciplinary study of music aesthetics from the perspective of music psychology,and can be regarded as a fundamental breakthrough in the field of traditional music aesthetics.This thesis mainly centers around three aspects.Firstly,the research on the psychological activities and the psychological state of musicians when creating musical works.Secondly,the study of the psychological logics of musical works and the psychology of musical performers while performing.Thirdly,the study of the psychology of music appreciation,and conclusion of the psychological laws that musical creation follows.There are four steps for this research.The purpose of study one is to review the global development of music psycho-aesthetics and the theories involved,and to find out and emphasize the materials and theories that can be used in this thesis.The first and second parts of this thesis mainly discuss the historical development,current situation and significance of this research.Specifically,as an intersecting feature that integrates philosophy,psychology,and aesthetics,music psycho-aesthetics is extremely inclusive.However,the research in this field has been in a state of insufficiency and imperfection.Therefore,this thesis attempts to build a framework that breaks through the understanding of ancient Chinese experience and explores the role and mechanism of psycho-aesthetics from disciplines such as cognitive neuroscience and cognitive ability structure.It is concluded that the psychological aesthetics of ancient Chinese music not only exists in the surface cognition such as audio-visual but also exists in the deep structure of mentality.They have independent concepts,functions,and influence mechanisms,and play an auxiliary role in the understanding of musical phenomena.The second study focuses on the characteristics of Chinese ancient music:courtesy,compatibility,and empathy,according to the development of different dynasties and aesthetic thoughts.The third part of this thesis mainly discusses the general music psychology and aesthetics under the three historical stages of ancient music in the Pre-Qin Period,the Southern and Northern Dynasties,and the late Sui and Tang Dynasties.We aimed to study the psychological activities of the ancient people when they create works,and to sort out the psychological effects of ancient musical works on the public under the political and economic conditions at that time.The third study concludes the characteristics of ancient Chinese music psychology and aesthetics---sorrowfulness,synaesthesia,and imagination.The fourth chapter of this thesis combines theories and musical works together,from the perspective of different music aesthetic activities,tries to probe into the psychological logic of music creation,the psychological trends of performance and the psychological changes of appreciation.Generally speaking,the psychological characteristics of ancient Chinese music aesthetics have advanced a lot across times,nationalities,and even social classes.And such commonality is sustained through sadness,synaesthesia,and imagination.Therefore,in the aesthetic activities of music appreciation,"sorrowfulness,imagination,and synaesthesia" seem to be different,but in fact,they are all coordinated in the inner activities of each subject.The psychological function of ancient Chinese music has been stripped and has developed outside the realm of artistic aesthetics in the continuous process of civilization.The fourth study is to clarify the modern significance of the development of music psychology and aesthetics,and promote the research and development of Chinese ancient music psychology and aesthetics.After integrating the different parts of the research,it can be discovered that ancient China not only possesses fruitful musical works but also never lags behind other countries in getting lots of achievements in the field of music psychological aesthetics.Part Three and Four have already discussed the close connection between music and psychology.The facts that can be exemplified in ancient Chinese musical theory can be seen from this.Besides the contribution to localization,the value of this research is to promote the integration of the traditional and modern directions of this interdisciplinary subject.This thesis also puts forward suggestions for the future development of this subject.Firstly,music researchers,educators,and promoters should have a positive attitude towards it.Secondly,contemporary music researchers should correctly understand the value of different research in the sub-disciplines,and promote the long-term progress and development of society.Lastly,it is the responsibility of the music educators to rejuvenate excellent traditional culture,to help the next generation to establish respect and appreciation for traditional musical theories,to correctly understand Western musical theories,and to make a contribution to the cultural renaissance of our country.