Exploring the true freedom of Meng-Tzu in the conceptual definitions of music

Hou Yunlong

As for the study of Meng-Tzu's musical aesthetic ideas, the conclusions of modern scientific circles converge to the fact that in Meng-Tzu's musical views, attention is focused on the role of the subjective spirit. It is believed that the "ordinary man" and the" perfect sage "listen to the same and have the same aesthetic perception, and the creation of music should be based on" love of humanity "and" duty " to the neighbor as to himself, on caring for the people and fun with people. However, if we look logically at the musical ideas expressed in the written sources left after Meng-Tzu, each aspect put forward by him has its own unique logical idea. The constituent elements considered by him, such as the "natural inclination of man to good", "humanity", "duty" and others, inherit and develop a universal conditioning determined by Confucius ' musical thought. Meng-Tzu's musical ideas are not only partial propositions and actual methods put forward. It is also the process of Meng-Tzu's musical reflections, which is developing against their background, many changes and steps from the anthropological to the psychological stage of music, from intellectual thinking to the conclusions drawn by him, all this clearly and in detail appears before our eyes today. The study of the development and progress of Meng-Tzu's musical views will open up new horizons for an in-depth study of Meng-Tzu's musical thought, as well as offer us new ideas for a true understanding of Chinese traditional culture. We will conduct research based on the fact that the subjective spirit contained in music presupposes the conditionality of having a "natural tendency to good", to consider music in the subjectivity of the universal definition, objective conceptual world identity, and other aspects.

Keywords:Meng-Tzu's musical views, conceptuality, freedom