Comparative Study on Chinese and Western Aesthetics in Music Performance
Abstract
This study conducts a comparative analysis of Chinese and Western aesthetic principles in music performance, focusing on Confucian and Taoist aesthetic concepts (He, Qing, Qi) and Western notions of autonomy and heteronomy. Through qualitative content analysis of 61 scholarly texts, the research examines how these philosophies shape performance practices. Findings reveal that Confucian aesthetics emphasizes He as a tool for moral education and social cohesion, requiring performers to balance technical precision with ethical expression. Taoist aesthetics prioritizes spontaneity and natural flow (Qi), aligning music with cosmic harmony. In contrast, Western autonomy theory treats music as self-referential, valuing structural integrity, while heteronomy links music to external emotions and narratives. The study highlights significant differences, with Chinese aesthetics merging music with philosophical and societal principles, while Western aesthetics alternates between formalism and contextualism. The research adds to global music studies by exploring how cultural paradigms shape performers’ interpretative perspectives in music performance. This cross-disciplinary dialogue links Chinese and Western aesthetic theories, establishing a basis for music performance informed by cultural perspectives.
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