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

doi:10.5216/mh.v26.83273

Authors

Fan chang College of Humanities and Arts, Liaoning Institute of Science and Technology, Benxi, China mfc707831559@gmail.com https://orcid.org/0009-0000-8231-3737
Johee Lee Global Music Department, Kyonggi University, Seoul, South Korea li-20301@kyonggi.ac.kr https://orcid.org/0000-0001-5652-8355
Fei Li Cultural Communication and Public Administration, Jining Polytechnic, Jining, China john1234567fei@gmail.com https://orcid.org/0009-0009-3316-7775

DOI:

https://doi.org/10.5216/mh.v26.83273

Keywords:

ontologia. xamânico. música. estético. comparação.

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.

Downloads

Download data is not yet available.

Author Biographies

Fan chang, College of Humanities and Arts, Liaoning Institute of Science and Technology, Benxi, China mfc707831559@gmail.com

Miao Fanchang holds a PhD in Musicology from Kyonggi University (South Korea). Her research focuses on ethnomusicology, folk music, and music aesthetics, with particular emphasis on the systematic study of shamanic music in Northeast Asia. She has conducted extensive fieldwork in China and South Korea, especially in regions where shamanism remains active, including areas associated with Manchu-Tungusic, Mongolic, and Korean traditions. Her work examines both spirit-descended and hereditary shamanic practices, exploring the ritual functions, cultural symbolism, and aesthetic structures of shamanic music from a comparative and emic perspective. Her doctoral dissertation, A Comparative Study of Shamanic Music in Northeast Asia from the Perspective of Ethnomusicology, and subsequent publications contribute original insights into the cultural logic and religious meanings of shamanic musical practices. Her research is supported by a substantial corpus of audio, video, and photographic documentation gathered through long-term field investigation.

Johee Lee, Global Music Department, Kyonggi University, Seoul, South Korea li-20301@kyonggi.ac.kr

Johee Lee is a researcher and faculty member in the Department of Practical/Performance Music at Kyonggi University(Republic of Korea). Her research spans music technology, film music analysis, computer-aided music studies, and music education, with scholarly contributions that include studies on chromatic mediant relationships in film scores and data-driven analysis of popular music phenomena such as K-POP.

Fei Li, Cultural Communication and Public Administration, Jining Polytechnic, Jining, China john1234567fei@gmail.com

Fei Li holds a PhD in Musicology (2024) and is a faculty member at Jining Vocational and Technical College, where he works in the fields of vocal pedagogy and performance studies. His research and teaching focus on music education theory, vocal instruction methodologies, and bel canto singing, with particular attention to higher vocational education. He has extensive experience in vocal teaching and has received multiple awards in national professional vocal competitions, reflecting his strong technical and artistic background. His scholarly work addresses innovations in vocal pedagogy and the application of bel canto techniques in contemporary musical theatre, as well as pedagogical reforms in vocational music education. He has published several academic articles as first or corresponding author and regularly participates in academic exchanges, including invited lectures at national music education conferences. His current research interests include the reform of vocal teaching models in higher vocational institutions, the integration of bel canto techniques in Chinese musical theatre, and the transformation of vocal pedagogy in the digital era.