Research On Qing Zhu’s Musical Aesthetics

At the beginning of the 20 th century,Western learning became a common trend in China.With the emergence of school songs,learning western music became the main melody of the development of modern Chinese music in the first half of the 20 th century.Chinese musicians try their best to innovate Chinese music,and are committed to promoting Chinese people’s thoughts and promoting the progress of the country and society through the aesthetic value and enlightenment function of music art.Music aesthetician Qing Zhu is one of the representative figures.His music works Music Words and General Theory of Music comprehensively elaborate the essence of music,music creation,music performance,music development,music education and so on,reflecting his music aesthetic view.His art songs "The Great River Goes East" and "I Live on the Yangtze River" are still widely circulated today.Through combing and analyzing the life,music theory and artistic creation of the Qing Zhu,combined with the social background of The Times,this paper comprehensively and objectively explores the essence of his music aesthetic views.The first chapter is the introduction.This paper expounds the research purpose of this paper,combs the academic circles on the music theory and artistic creation of the relevant research results,and then puts forward the research focus and research methods of this paper.The second chapter combs the construction process of the Qing Zhu’s aesthetic view of music.This paper divides the life experience of the Qing Zhu from two periods,namely the early education experience and the return to China.He was born in a traditional scholarly family and has a strong knowledge of Chinese traditional culture.When he was young,he studied in Germany and got acquainted with music,and was infiltrated by western classical philosophy and art and culture.After returning to China,he once lingered in the three fields of politics,law and military,but he shone in the field of music.The life of Qing Zhu lies in the impact and blend of ancient and modern China and foreign countries.The changeable social environment has cast his unique aesthetic concept of music.The third chapter analyzes the aesthetic theory system of Qing Zhu’s view of the essence of music,which is also the main part of this paper.Qing Zhu has long been misunderstood as an idealist because he proposed the core proposition that music is the language of the upper world on the nature of music.Starting from aesthetic psychology and music psychology,this paper analyzes the system of aesthetic psychological activities contained in Qing Zhu’s "outer world","inner world" and "upper world" through the three aesthetic ability forms of "pleasing to the eye and pleasing to the ear,pleasing to the heart and pleasing to the mind,and pleasing to the spirit" proposed by Li Zehou.The "Three Realms theory" of the Qing Zhu reflects the process of perceiving the mind and inner spirit construction of the human in aesthetic activities,and its essence is the perfect process of the objectification of human’s own essential power.The "three realms" of the Qing Zhu contains the corresponding relationship between aesthetic subject and aesthetic object,which is embodied in the following aspects: "external--physical--music material layer","inner boundary--physiological--music expression form layer","upper boundary--psychological--music spiritual implication layer".Qing Zhu’s "Music is the language of the upper world" is not "idealism" or "mysticism",but based on the deep reflection of the relationship between human and nature and art generated in natural science.The music creation view and music function view elaborated by the Qing Zhu are all developed on the basis of the core proposition of "music is the language of the upper world",which includes the aesthetic creation of music and the aesthetic value of music,and together constitute the complete aesthetic system of the Qing Zhu’s music essence view.The fourth chapter is a comparative analysis of the Qing Zhu’s music development concept.The essence of music of the Qing Zhu absorbed and transformed the western music culture.On this basis,he proposed the music development concept of "begging for spirits to the west" for the development path of Chinese music,which was once criticized as the "overall Westernization" of worshiping foreign things.Combined with the historical background,this paper compares it with Wang Guangqi and Xiao Youmei’s Li optimism and Guo optimism,analyzes the similarities and differences of the three musical development concepts,and better defines the essence of the national spirit contained in the Qing Zhu’s "begging for spirits to the west".The music development view of "begging for spirits to the west" advocated by the Qing Zhu advocates borrowing western classical music technology and western music culture,so as to create the national music that can stand on the international stage.The art songs created by the Qing Zhu are the best interpretation of the national spirit of music.The fifth chapter comments on the value and historical status of Qing Zhu’s musical aesthetics.The music aesthetics of Qing Zhu promoted the dialogue between Chinese and western music aesthetics,promoted the modern transformation of Chinese music from ancient times to modern times,and provided a reference paradigm for the development of Chinese modern music art.