Diferenças estéticas étnicas na ontologia da música xamânica no contexto do pós-modernismo: Uma comparação entre a Coreia do Sul e a China
Fanchang Miao, Johee Lee, Fei Li
Música Hodie February 4, 2026 DOI: 10.5216/mh.v26.83273 (opens in new tab)
Study at a glance
AI-extracted from the abstract| Characteristics | Theoretical or philosophical paper Peer reviewed |
|---|---|
| Keywords | Expression computer science Context archaeology Reverence Object grammar Beauty Natural archaeology Embodied cognition Aesthetics China Musical expression Postmodernism Style visual arts |
| Key points | Argues that Korean shamanic music developed a dramatic aesthetic expression while Chinese shamanic music emphasizes a direct, non-reflective sensory aesthetic, yet both share an "overall beaut" reflecting reverence for nature and interconnectedness. |
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.