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Conference Paper: Interpreting the Qin in Tokugawa Japan: Ogyu Sorai’s Studies on Chinese Music
Title | Interpreting the Qin in Tokugawa Japan: Ogyu Sorai’s Studies on Chinese Music |
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Authors | |
Issue Date | 2012 |
Publisher | The American Musicological Society (AMS), the Society for Ethnomusicology (SEM), the Society for Music Theory (SMT). |
Citation | The 58th Annual Meeting of the American Musicological Society (AMS) & the 57th Annual Meeting of the Society for Ethnomusicology (SEM) & the 35th Annual Meeting of the Society for Music Theory (SMT), New Orleans, LA., 1-4 November 2012. In the AMS/SEM/SMT Annual Meetings Abstracts, 2012, p. 16-17 How to Cite? |
Abstract | The presentation tackles an extremely important issue in East Asian music and Tokugawa intellectual history—the question
why Japanese political thinker Ogyu Sorai (1666–1728 ), in the last phase of his career, composed a series of works on the Chinese
qin music based on his reading of the two ancient manuscripts discovered in the early years of Kyoho (1716–1736). Written
in Japanese, Ogyu Sorai’s four treatises on Chinese qin music has been looked upon as short introductory essays prepared for
non-literati musicians. Nevertheless, close scrutiny reveals that Ogyu consciously applied Confucian teachings to political
15
Abstracts Thursday Morning: Session 1-
issues through his music projects. Ogyu was awesome in this regard not because of his expertise in Chinese philology, but due
to his ability to manipulate existing facts and present them in a manner that was convincing to his contemporaries. In short,
Ogyu himself was absolutely conscious of the political implications of his Chinese qin music studies, both within Japan and
without. Therefore, an in-depth inquiry into the nature and causes of Ogyu’s studies on qin music is indispensable in pursuing
a full picture of Ogyu’s ideology. The results drawn from this presentation not only sheds new light on the history of East
Asian music, but also addresses crucial lacuna in the study of Tokugawa intellectual history. |
Description | Session 1-15 (SEM): Music and Political Expression |
Persistent Identifier | http://hdl.handle.net/10722/191134 |
DC Field | Value | Language |
---|---|---|
dc.contributor.author | Yang, Y | en_US |
dc.date.accessioned | 2013-09-17T16:17:16Z | - |
dc.date.available | 2013-09-17T16:17:16Z | - |
dc.date.issued | 2012 | en_US |
dc.identifier.citation | The 58th Annual Meeting of the American Musicological Society (AMS) & the 57th Annual Meeting of the Society for Ethnomusicology (SEM) & the 35th Annual Meeting of the Society for Music Theory (SMT), New Orleans, LA., 1-4 November 2012. In the AMS/SEM/SMT Annual Meetings Abstracts, 2012, p. 16-17 | en_US |
dc.identifier.uri | http://hdl.handle.net/10722/191134 | - |
dc.description | Session 1-15 (SEM): Music and Political Expression | - |
dc.description.abstract | The presentation tackles an extremely important issue in East Asian music and Tokugawa intellectual history—the question why Japanese political thinker Ogyu Sorai (1666–1728 ), in the last phase of his career, composed a series of works on the Chinese qin music based on his reading of the two ancient manuscripts discovered in the early years of Kyoho (1716–1736). Written in Japanese, Ogyu Sorai’s four treatises on Chinese qin music has been looked upon as short introductory essays prepared for non-literati musicians. Nevertheless, close scrutiny reveals that Ogyu consciously applied Confucian teachings to political 15 Abstracts Thursday Morning: Session 1- issues through his music projects. Ogyu was awesome in this regard not because of his expertise in Chinese philology, but due to his ability to manipulate existing facts and present them in a manner that was convincing to his contemporaries. In short, Ogyu himself was absolutely conscious of the political implications of his Chinese qin music studies, both within Japan and without. Therefore, an in-depth inquiry into the nature and causes of Ogyu’s studies on qin music is indispensable in pursuing a full picture of Ogyu’s ideology. The results drawn from this presentation not only sheds new light on the history of East Asian music, but also addresses crucial lacuna in the study of Tokugawa intellectual history. | - |
dc.language | eng | en_US |
dc.publisher | The American Musicological Society (AMS), the Society for Ethnomusicology (SEM), the Society for Music Theory (SMT). | - |
dc.relation.ispartof | AMS / SEM / SMT Joint Annual Meeting | en_US |
dc.title | Interpreting the Qin in Tokugawa Japan: Ogyu Sorai’s Studies on Chinese Music | en_US |
dc.type | Conference_Paper | en_US |
dc.identifier.email | Yang, Y: yuanzhen@hku.hk | en_US |
dc.identifier.authority | Yang, Y=rp01559 | en_US |
dc.identifier.hkuros | 223244 | en_US |
dc.identifier.spage | 16 | - |
dc.identifier.epage | 17 | - |
dc.publisher.place | United States | - |