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Le goût suspendu Goût, fadeur, notoriété en Chine

Abstract : Chinese musical aesthetics as it is known and documented is torn between two universes: one, classical, claims to be bland (dan 淡); in contrast, the popular universe of Jingxi (Peking Opera) puts forward the taste (wei 味) as an appreciation and knowledge of taste as a criterion for the recognition of connoisseurs. Where then should we locate the ensemble music and the meetings between friends where the aesthetic judgment appears to be suspended? Finally, the main criterion for judging an artist in China does not take into account his/her performance, but the notoriety of the performer. The two strategies studied, praise of blandness and suspension of the judgment of taste, are then to be grasped as a response to this oppressive imperative.
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Contributor : François Picard <>
Submitted on : Friday, July 10, 2020 - 8:01:14 PM
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François Picard. Le goût suspendu Goût, fadeur, notoriété en Chine. Cahiers de Musiques Traditionnelles, Ateliers d'ethnomusicologie, 2015, Le goût musical, 28, p. 145-156. ⟨halshs-02896845⟩



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