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A Comparative Study on the Aesthetics of Music between Chi K'ang and Eduard Hanslick Chi K'ang 嵇康(224-263) and Hanslick(1825-1904) made great impacts on the history of aesthetics of music, respectively in the third-century China and nineteenth-century Europe. They lived in different cultures and periods. Accordingly, they had no interaction between themselves. Nevertheless, their viewpoints of music seem to have many common grounds. The author who oriented herself to concepts and system of western aesthetics, was astonished by the fact that Hanslick's formalistic viewpoint of music has a counterpart in the third-century China, approximately 1600 years ago. Their common ground is that music can neither express a certain emotion, nor that is the goal of music at all. The author has chosen and discussed five aspects of their arguments, respectively in Sheng-wu Ai-lo-lun ꡔ聲無哀樂論ꡕ and Vom Musikalisch-Schönen:the interaction between music and mind, relationship between a content of music and emotion, the form as the content of music, relationship between music and nature, aesthetic attitude towards music. After that, the author has compared the concepts of art, music, nature in both aesthetics of music. As expected, we could find several similarities as well as differences. By this process, we can make our horizon of knowledge of music wider. the author hopes to make a small step toward establishing a new paradigm for both music in general and Korean music.


A Comparative Study on the Aesthetics of Music between Chi K'ang and Eduard Hanslick Chi K'ang 嵇康(224-263) and Hanslick(1825-1904) made great impacts on the history of aesthetics of music, respectively in the third-century China and nineteenth-century Europe. They lived in different cultures and periods. Accordingly, they had no interaction between themselves. Nevertheless, their viewpoints of music seem to have many common grounds. The author who oriented herself to concepts and system of western aesthetics, was astonished by the fact that Hanslick's formalistic viewpoint of music has a counterpart in the third-century China, approximately 1600 years ago. Their common ground is that music can neither express a certain emotion, nor that is the goal of music at all. The author has chosen and discussed five aspects of their arguments, respectively in Sheng-wu Ai-lo-lun ꡔ聲無哀樂論ꡕ and Vom Musikalisch-Schönen:the interaction between music and mind, relationship between a content of music and emotion, the form as the content of music, relationship between music and nature, aesthetic attitude towards music. After that, the author has compared the concepts of art, music, nature in both aesthetics of music. As expected, we could find several similarities as well as differences. By this process, we can make our horizon of knowledge of music wider. the author hopes to make a small step toward establishing a new paradigm for both music in general and Korean music.