| Abstract |
The essay “聲無哀樂論” by Zhi-kan (稽康) has long been established as a milestone in Chinese acoustic aesthetics and Taoist aesthetics. But so proposed in this essay and the Taoist wisdom, hence missing the proper appreciation of this important essay. I try to formulate here a synthesis of the trilateral property of Chinese acoustic aesthetics, namely “sound, voice-quality, music” “harmony”. In other words, while resorting to this bifurcation and making “the harmony of higher order” (境界之和 the center point of this essay, I also believe a better understanding of its is under way.
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