「論語」속에 나타난 孔子의 音樂思想에 관한 硏究
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Among the many possible viewpoints with which to approach the teachings of Confucius, this thesis, unlike many of the studies that focused on the philosophical and ethical aspects, centers on the masters music theory. For a more in-depth study, it is imperative that we remember the words of the great master. Reviewing what you have learned and learning anew, you are fit to be a teacher.According to Yeonam Park Ji-won, these words preached to create the new based on the model of the old; and in China, this quote was interpreted to mean that remembering the old was the teacher of future. Both interpretations are thought to mean similar things. However, reviewing the old does not always lead to the learning and creation of the new. What is required is the eye to see the future in the past. This study reviews the fact that, since the enlightenment period, the music theory of Confucius which represented Oriental music until then was sidelined and marginalized by Western music. Based on the perception that, in the 21st century, we must reinterpret Oriental music which runs deep in our blood and set a direction for the development of creative music philosophy and music education, this thesis explores the music philosophy of Confucius. Confucius perception of man was that a man is a being that grows and matures to become complete; and the completion of man could be reached through music. From this perspective, the music philosophy of Confucius seen in the Analects of Confucius can be summarized as follows: First, in his theory of propriety and music, the master did not isolate propriety from music, but stated it must come into harmony with music. Second, he spoke on the relationship between the theory of propriety and music and the theory of jen( perfect virtue ). The concept of jen in the Analects takes on many definitions, making it difficult to fix a single meaning to this overladen word. However, seen from a musical perspective, jen is interpreted as a state of feeling , that is, aesthetic sensitivity as Kim Yong-ok stated. Also, only when propriety and music meet with jen can one understand the ideal world where propriety and music become one. Third, in the part dealing with the masters aesthetical view on music, one can meet with Confucius as a musician and as a music critic. Judging from the fact that he lost his tastebud for three whole months when he was immersed in music and that he had in-depth discussions on the finer points of music with, Tae-sa, a famous musician of Noh Dynasty, the master was no doubt a man of great aesthetic culture who knew the function and value of music. Fourth, Confucius recognized that music was imperative for the perfection of character and never failed to underline this point when educating his disciples. The masters ultimate goal was to perfect his life through the perfection of the human nature, and music lay at the center of this quest. Confucius said, I have only stated my words on the foundation of the late kings tao( the Way ), and have created nothing. In accordance with the above words, this study also aimed to state the Confucius teachings about music in its original form and tried to refrain from creation. This is only because reviewing the old and learning the new is nothing less than creation itself.