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{"title":"《石的概念：中国美学与春夜春雨》（2004）","authors":"N. Rao","doi":"10.30535/MTO.26.3.11","DOIUrl":null,"url":null,"abstract":"The article brings a conceptual framework of Chinese aesthetics, music analysis, and theory developed in North America to bear on the analysis of Chen Yi’s chamber ensemble Happy Rain on a Spring Night (2004). As a framework to analyze the work (both the poem by Du Fu and the music composition), it proposes the concept of shi, which can be described as “dynamic configuration” or “the probability and propensity that drive the process.” The end of the article discusses issues related to culturally situated analysis. DOI: 10.30535/mto.26.3.0 Volume 26, Number 3, August 2020 Copyright © 2020 Society for Music Theory","PeriodicalId":44918,"journal":{"name":"Music Theory Online","volume":" ","pages":""},"PeriodicalIF":0.4000,"publicationDate":"2020-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"2","resultStr":"{\"title\":\"The Concept of Shi: Chinese Aesthetics and Happy Rain on a Spring Night (2004)\",\"authors\":\"N. Rao\",\"doi\":\"10.30535/MTO.26.3.11\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"The article brings a conceptual framework of Chinese aesthetics, music analysis, and theory developed in North America to bear on the analysis of Chen Yi’s chamber ensemble Happy Rain on a Spring Night (2004). As a framework to analyze the work (both the poem by Du Fu and the music composition), it proposes the concept of shi, which can be described as “dynamic configuration” or “the probability and propensity that drive the process.” The end of the article discusses issues related to culturally situated analysis. DOI: 10.30535/mto.26.3.0 Volume 26, Number 3, August 2020 Copyright © 2020 Society for Music Theory\",\"PeriodicalId\":44918,\"journal\":{\"name\":\"Music Theory Online\",\"volume\":\" \",\"pages\":\"\"},\"PeriodicalIF\":0.4000,\"publicationDate\":\"2020-08-01\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"2\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"Music Theory Online\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.30535/MTO.26.3.11\",\"RegionNum\":2,\"RegionCategory\":\"艺术学\",\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"0\",\"JCRName\":\"MUSIC\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"Music Theory Online","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.30535/MTO.26.3.11","RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"0","JCRName":"MUSIC","Score":null,"Total":0}
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The Concept of Shi: Chinese Aesthetics and Happy Rain on a Spring Night (2004)
The article brings a conceptual framework of Chinese aesthetics, music analysis, and theory developed in North America to bear on the analysis of Chen Yi’s chamber ensemble Happy Rain on a Spring Night (2004). As a framework to analyze the work (both the poem by Du Fu and the music composition), it proposes the concept of shi, which can be described as “dynamic configuration” or “the probability and propensity that drive the process.” The end of the article discusses issues related to culturally situated analysis. DOI: 10.30535/mto.26.3.0 Volume 26, Number 3, August 2020 Copyright © 2020 Society for Music Theory
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