Diferenças estéticas étnicas na ontologia da música xamânica no contexto do pós-modernismo: Uma comparação entre a Coreia do Sul e a China

This thesis examines ethnic differences in the ontological beauty of shamanic music in Korea and China within a postmodern context, analyzing musical object forms and their symbolic contexts. While both traditions are religious, Korean shamanic music developed dramatic aesthetic expression due to dynamic historical and cultural influences including shamanism, Buddhism, and Confucianism. Chinese shamanic music emphasizes direct, non-reflective sensory aesthetic religious expression. Despite these differences, both embody an 'overall beauty' in their aesthetic spirit, reflecting fascination and reverence for natural objects and the interconnectedness and balance of all things in nature's cyclical processes.

Study at a glance

Abstract

The exploration of the ethnic differences in the ontological beauty of shamanic music within the context of postmodernism is focused on in this thesis, which will be achieved through an analysis of the musical object forms and their corresponding associated elements and symbolic contexts. Although the concepts of shamanic music in Korea and China are both categorized as religious, it is observed that a dramatic aesthetic expression in music has been developed in Korea because of the dynamic construction of their differing historical and cultural backgrounds, which is attached to shamanism, Buddhism, Confucianism, and other cultural influences. In contrast, an emphasis is put on the direct, non-reflective sensory aesthetic religious expression in China. However, it is recognized that an “overall beaut” in their aesthetic spirit, is embodied in both of them, where a fascination and reverence for natural objects and the interconnectedness and balance of all things in the cyclical process of nature are reflected.