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066 _c$1
019 _a1055393013
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020 _a9789027268914
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020 _z9789027204080
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_qalk. paper)
020 _a902720408X
020 _a9789027204080
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035 _a(OCoLC)897001874
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_z(OCoLC)1081266610
_z(OCoLC)1101727533
042 _apcc
043 _aa-cc---
050 0 0 _aML3877
072 7 _aMUS
_x041000
_2bisacsh
082 0 0 _a781.1/70951
_223
049 _aMAIN
100 1 _aTien, Adrian.
_9611618
245 1 4 _aThe semantics of Chinese music :
_banalysing selected Chinese musical concepts /
_cby Adrian Tien.
264 1 _aAmsterdam ;
_aPhiladelphia :
_bJohn Benjamins Publishing Company,
_c2015.
300 _a1 online resource.
336 _atext
_btxt
_2rdacontent
337 _acomputer
_bc
_2rdamedia
338 _aonline resource
_bcr
_2rdacarrier
490 1 _aCognitive linguistic studies in cultural contexts,
_x1879-8047 ;
_vvolume 5
504 _aIncludes bibliographical references and index.
588 0 _aPrint version record and CIP data provided by publisher.
520 _aMusic is a widely enjoyed human experience. It is, therefore, natural that we have wanted to describe, document, analyse and, somehow, grasp it in language. This book surveys a representative selection of musical concepts in Chinese language, i.e. words that describe, or refer to, aspects of Chinese music. Important as these musical concepts are in the language, they have been in wide circulation since ancient times without being subjected to any serious semantic analysis. The current study is the first known attempt at analysing these Chinese musical concepts linguistically, adopting the Natural Semantic Metalanguage (NSM) approach to formulate semantically and cognitively rigorous explications. Readers will be able to better understand not only these musical concepts but also significant aspects of the Chinese culture which many of these musical concepts represent. This volume contributes to the fields of cognitive linguistics, semantics, music, musicology and Chinese studies, offering readers a fresh account of Chinese ways of thinking, not least Chinese ways of viewing or appreciating music. Ultimately, this study represents trailblazing research on the relationship between language, culture and cognition.
546 _aIncludes appendix in Chinese with parallel English translation.
590 _aeBooks on EBSCOhost
_bEBSCO eBook Subscription Academic Collection - Worldwide
650 0 _aMusic
_zChina
_xPhilosophy and aesthetics.
_91039482
650 0 _aMusic and language
_zChina.
_91039483
650 0 _aQin music
_zChina
_xAnalysis, appreciation.
_91039484
650 6 _aMusique et langage
_zChine.
_91039485
650 6 _aQin, Musique de
_zChine
_xAnalyse et appréciation.
_91039486
650 7 _aMUSIC
_xInstruction & Study
_xTheory.
_2bisacsh
_991626
650 7 _aMusic and language.
_2fast
_0(OCoLC)fst01030478
_9151125
650 7 _aMusic
_xPhilosophy and aesthetics.
_2fast
_0(OCoLC)fst01030408
651 7 _aChina.
_2fast
_0(OCoLC)fst01206073
655 0 _aElectronic book.
655 4 _aElectronic books.
776 0 8 _iPrint version:
_aTien, Adrian.
_tSemantics of Chinese music.
_dAmsterdam ; Philadelphia : John Benjamins Publishing Company, 2015
_z9789027204080
_w(DLC) 2014044078
830 0 _aCognitive linguistic studies in cultural contexts ;
_vv. 5.
_9300175
856 4 0 _uhttps://search.ebscohost.com/login.aspx?direct=true&scope=site&db=nlebk&AN=941420
880 0 _6505-00/$1
_aThe Semantics of Chinese Music -- Editorial page -- Title page -- LCC data -- Table of contents -- Preface -- Acknowledgements -- Tables and figures -- 1. Introduction -- 1.1 What musical concepts-- 1.1.1 Musical concepts as cultural key words-- 1.1.2 Musical concepts and domain-specificity -- 1.2 Musical "meaning" in academic discussions since the 20th Century -- 1.3 Musical "meaning" in linguistic discussions since the 20th Century -- 1.3.1 Cognitive semantic approach -- 1.3.2 Semiotic approach -- 1.4 Analysing and discussing Chinese musical concepts -- 1.4.1 Analysing Chinese musical concepts using the Natural Semantic Metalanguage (NSM) -- 1.4.1.1 Semantic molecules -- 1.4.1.2 Cultural script -- 1.4.1.3 Application or applicability of the NSM to analysing Chinese musical concepts -- 1.4.1.4 Core versus peripheral meaning in NSM analyses -- 1.4.1.5 The "sememe" in Chinese lexicon and its implication for NSM analyses -- 1.5 Chinese music and Chinese language: a case of pas de deux -- 1.6 Chapter plan -- 2. "Where Have the Geese Gone": Chinese concepts related to sonic experience -- 2.1 Chinese interpretation of sonic presence ("sound") and sonic absence ("non-sound") -- 2.2 Chinese concepts related to sonic presence ("sound" and "music") -- 2.2.1 Sheng -- 2.2.2 Yin -- 2.2.3 Yin yue 樂 and yue 樂 -- 2.2.4 Compound words between sheng, yin and yue -- 2.2.5 Qu 曲 -- 2.3 Chinese concepts related to sonic absence ("non-sound") -- 2.3.1 Jing -- 2.3.2 Mo -- 2.3.3 Ji 寂 -- 2.3.4 Xiu 休 -- 2.4 Concluding remarks -- 3. "Following one's intonation": Concepts related to musical articulation, interpretation -- 3.1 Yiyang duncuo 抑揚 挫 -- 3.2 Yun -- 3.3 Shi 實 versus xu -- 3.4 Nong 濃 versus dan 淡 -- 3.5 Conclusion -- 4. Being "graceful", "well-moderated" and "restrained": concepts related to expressions of music.
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_a4.1 Emotion words and emotional musical concepts -- 4.2 Emotional, musical concepts weiwan, wanzhuan, wanyue, hanxu and daqi -- 4.2.1 Weiwan, wanzhuan, wanyue, hanxu and daqi: their semantic and translational issues -- 4.2.2 Cultural underpinnings of weiwan, wanzhuan, wanyue and hanxu -- 4.2.2.1 Indirect expressions of emotions -- 4.2.2.2 Indirect and implicit expressions of emotions -- 4.2.2.3 Indirect and restrained expressions of emotions -- 4.2.2.4 Expressions of emotions: two important provisos -- 4.2.3 Semantic analyses of weiwan, wanzhuan, wanyue, hanxu and daqi -- 4.2.3.1 Weiwan 委婉 -- 4.2.3.2 Wanzhuan 婉 -- 4.2.3.3 Wanyue 婉約 -- 4.2.3.4 Hanxu 含 -- 4.2.3.5 Daqi 大氣 -- 4.3 Conclusion -- 5. Interpreting Guqin Master Xu's "24 virtues" with NSM -- 5.1 Preliminaries -- 5.1.1 Guqin aesthetics as a significant dimension of Chinese musical aesthetics -- 5.1.2 The 24 guqin concepts by Master Xu as a representative dimension of guqin aesthetics -- 5.1.3 Taking stock of the 24 guqin concepts as "virtues of guqin music" -- 5.2 Semantic analyses of the "24 virtues of guqin music" -- 5.2.1 He 和 'harmonious' -- 5.2.2 Jing 'quiet, silent, tranquil, still' -- 5.2.3 Qing 清 'clear, pure' -- 5.2.4 Yuan 'distant, far and profound' -- 5.2.5 Gu 古 'ancient, archaic, nostalgic' -- 5.2.6 Dan 澹/淡 'placid, plain, simple, quiet, unsophisticated' -- 5.2.7 Tian 恬 'calm, peaceful, tranquil, serene' -- 5.2.8 Yi 'leisurely' -- 5.2.9 Ya 'exquisite, elegant, graceful, refined' -- 5.2.10 Li 'beautiful' -- 5.2.11 Liang 亮 'bright, resonant, transparent, clear' -- 5.2.12 Cai 'luminous, lustrous' -- 5.2.13 Jie 潔 'clean' -- 5.2.14 Run 潤 'warm, moist, moderate, smooth, sleek' -- 5.2.15 Yuan 圓 'well-rounded, seamless, unblemished, immaculate' -- 5.2.16 Jian 堅 'firm, solid, strong' -- 5.2.17 Hong 宏 'grand, impressive, magnaminous' -- 5.2.18 Xi 細 'fine, minute, subtle'.
880 8 _6505-00/$1
_a5.2.19 Liu 溜 'gliding, slippery' -- 5.2.20 Jian 健 'lively, energetic' -- 5.2.21 Qing 'light, soft' -- 5.2.22 Zhong 'heavy, weighty, strong' -- 5.2.23 Chi 'slow, delayed' -- 5.2.24 Su 'swiftly, rapidly' -- 5.3 Conclusion -- 6. Conclusion -- 6.1 "Musical meaning" revisited -- 6.2 Appreciating Chinese music with the mind's ear -- 6.3 Appreciating Chinese music with the mind's eye -- 6.4 Musicking -- 6.5 Chinese musical, linguistic and literary concepts -- 6.6 The main findings -- 6.7 Outstanding issues -- 6.8 Suggestions for further research -- Appendix I. Xi Shan Qin Kuang 溪山琴況 'The State of Guqin Art of the Xi Shan School' -- References -- Index.
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