His musical thought work "On Sound without Sorrow and Music" is the first musical theory work in China that embodies his musical aesthetic thought. It still has high research value. In his article, he discussed music and emotion, creation and performance, performance and musical instruments, appreciation, appreciation and habits, and through the repeated refutation between "Qin Ke" and "Master Dongye", he proposed that there is no sorrow and joy in sound. Many musical aesthetic problems mentioned in "Sound without Sorrow and Music" are of fundamental significance. Lu Xun once pointed out: "Ji Kang's thesis is better than Ruan Ji's, with novel ideas and often opposite to the old saying."
Fu Qin is also one of his music criticism articles, which affirms the role of music: "It can guide the cultivation of spirit, publicize feelings, and those who are poor but not bored, keep quiet." There are many piano music mentioned in Fu Qin, including the legendary Snow White and the Riverside Scene at Qingming Festival played by Shi Kuang, as well as ancient music such as Lushui and Zheng Qing. He also divided the popular works at that time into two categories: elegant music suitable for songs and popular piano music suitable for folk customs. In addition, he also analyzed the development process and performance characteristics of Qin Le in detail from beginning to end.
Ji Kang is another representative of metaphysical emotion theory. According to his theory of sound without sorrow and music, the beauty of music has no emotional connotation, but it is only "harmony", but it can make music listeners with different virtues enhance their respective virtues. This comprehensive effect on virtue, which he called "growing with touch, leading to non-unity, leading to different paths" (Fu Qin), is aesthetic in nature. Ji Kang, unlike Zhuangzi, emphasized goodness, but this goodness is not a universal ethical concept, but an individual's personality virtue, that is, a special universality or an individual universality. Ji Kang's theory is also different from Wang Bi's. Ji Kang did not unify beauty and goodness as the leading factor, but unified goodness and beauty as the leading factor. This unified emotion is not a simple aesthetic emotion, but a so-called "different roads lead to the same goal". Different paths are the virtues of different individuals, and the common goal is aesthetic experience, which unifies and strengthens those different virtues, and they are manifested in different aesthetic feelings that integrate individual virtues.
On the Aesthetic Thought of Ji Kang's On Sound Without Sorrow and Happiness
Author: Ma Qinzhong
Ji Kang is a special case in China. In China, tradition and prejudice are particularly important. From his life behavior to his philosophy and aesthetics, on the surface, it seems to be out of tune with China's cultural tradition. As some scholars have pointed out, he still attaches great importance to traditional moral standards in his bones; For example, on the one hand, his "dissolute words don't destroy Canon Mo" (The Book of Jin Ji Kang Biography), "Laughing at Dayu and despising Tang Yu" and "Not Tang Wu but thin Kong Zhou" (breaking up with Shan Juyuan); On the other hand, he kept his reputation as a scholar, and even prepared to take part in the Tian Uprising, trying to regain power from Sima's family and return it to Cao Wei's family. If this contradiction runs through his life, then "Sound without Sorrow and Music" is the aesthetic construction that he tried to get rid of his limited life. Therefore, the study of music philosophy in this paper is of special significance.
First, people's consciousness and aesthetic freedom.
Lu Xun said in the article "The Relationship between Wei and Jin Manners and Articles and Drugs and Alcohol" that the Wei and Jin Dynasties were a period of conscious writing. This "literary consciousness" is first of all guided by human consciousness. Of course, this "man" is not the practical subject of today's history, nor is it one of the structural elements of structuralism, but a "man" who pursues self-improvement and seeks the pure land of the soul in the endless cycle of unpredictable life and death, happiness and misfortune between people, power and destruction, and impermanent transformation and transformation between prisoners and dignitaries.
This pursuit is inseparable from Ji Kang's time. Years of war have made the whole society look bleak. Cao Cao once described this in "Hao Li Xing":
Because of the war, soldiers have long been unable to take off their battle clothes, their armor is covered with lice, and many people have died because of years of war.
The bones were bare in the field, and there was no one among them, and there was no crowing.
It is extremely sad to think that only one person in a hundred people is alive.
RoyceWong's Seven Wounded Poems also depicts such a tragic scene:
I didn't see anything when I went out, and the bones covered the plain.
There was a hungry woman on the road, holding her child in her arms and leaving the grass.
Wen Gu wailed and wept alone.
This is simply a "refugee map" after the war. The bleak and tragic social situation and the sudden disillusionment of personal life have caused the desolation of life and the sense of difficulty and delay in survival in this era. The strong beating of the desire for survival from the depths of the soul has cast a desolate and tragic color on people's hearts in this era. Longing for peace, longing for the reunification of broken rivers and mountains. However, when this unified situation is realized, it is followed by the struggle between people and the power intrigue. In this political struggle, the so-called people of insight can only stand alone, with the help of poetry, wine, medicine, visit famous mountains and rivers, indulge in sensual pleasures to relieve their limited life troubles. Ruan Ji's Poems on Huaishang is a typical representative in this respect: "Taoli was born in the East Garden. The autumn wind blows Hopkins, and from then on, it is prosperous and haggard, and it is quiet and lively. Get rid of the stables and go to the foot of the western hills. I don't protect myself, let alone love my wife. " It depicts decay and dying helplessness. Individuals are even more like dirt in this era of frequent alternation of life and death. "Day after day, day after day. Change the color to normal and the spirit will disappear. There is soup and fire in the chest, and the change is the same. If you are extremely poor in advance, you will know that you are suffering. But I'm afraid that in an instant, my soul will drift away with the wind. Life is like walking on thin ice, but I am anxious. "
Among such advantages and disadvantages, we can only return to our inner world and find a place to live for our soul. This is the social basis and background of Ji Kang's "health preservation theory". And "the theory of health preservation" is also the philosophical basis of his musical aesthetic thought of "sound without sorrow and joy". He is like the following passage in the theory of keeping in good health:
Jingtai, Qing Xu, has few selfish desires. Fame hurts morality, so suddenly you don't camp, and if you don't want it, you are forbidden. I am sad at the harm of thick taste, so I dislike it and care about it, instead of being greedy and then suppressing it. Foreign things are tired but don't exist, and the air is pure and white, so it is carefree and silent. They keep them together, keep them in harmony, and manage the life and economy, which is the same as Dashun. Then steamed with Ganoderma lucidum, moistened with Liquan, hey, with Chaoyang, with five strings in the ear, complacent with inaction, wonderful and mysterious. Forget the joy and be happy, but live and live.
The health center proposed here is: first, we must be clean and have no desire; Second, it is the characteristic of natural life to hurt morality for fame and fortune; Third, don't be greedy for delicious food; The fourth is not to be tired of foreign objects. From this, I will return to my inner world and reach the realm of "great happiness" of "broad and carefree, silent and thoughtless". In the refutation of Answering Questions and Puzzles for Health Care, Ji Kang demonstrated the conditions that health care needs to be purified from the opposite side, namely, "fame and fortune will not be extinguished", "emotion will not be removed", "endless interest" and "thinking and forwarding". In fact, judging from Ji Kang's own confession, he did reach his above-mentioned "health preservation" standard, but it is difficult to obtain evidence whether he can realize these principles from his inner world and enjoy it. However, as an excellent musician, he realized in his music performance that there is no doubt that his sister's unique emotions are based on the melody of music. In his "Fu Qin", he profoundly and meticulously described the ideological emancipation when listening to the piano. Finally, he sighed and said:
At that time, the sound of stones and stones sleeping, bamboo holding its breath, ... the feeling of harmony between heaven and earth, the feeling of doing different things, etc., Jiasi's elegant instrument, praised this article as a consolation, never tired of reading it, and believed in ancient and modern times. Chaos said: the sound of the piano is unpredictable! It is extremely difficult to be clear-headed and far-sighted! Good quality and beautiful hands, meet this world! Ring in succession, dubbed Yixi! Those who know the sound hope, who can be precious! You can be Ya Qin, but you should be the people!
In the existence of absolute self-discipline of musical beauty, he felt the unity of mind and heaven and earth. And these, for those who always associate music with funeral music, do not exist. Therefore, if you want to know the unfathomable truth of the state of Qin, it lies in Ji Kang, a "supreme person". Of course, this "Supreme Person" is not Confucius and Mencius, but a Zhuangzi-style "Supreme Person" who "collects herbs and gets what he wants and forgets what he does". "Those who claim to be gentlemen don't know right and wrong, but those who don't violate the Tao also. Why is there still a long way to go? If the husband is calm, his spirit is empty and his heart has no pity; Brightheart's body reaches people, and it doesn't feel what you want. Compassion does not exist in the heart, so it can be taught more naturally; Love doesn't depend on what you want, so you can judge nobility and understand things. "
It can be seen that Ji Kang's view on the relationship between music and funeral music is based on his own pursuit of liberating such people from the bondage of material desires and various utilitarian purposes. Only by getting rid of all these "desires" can the beauty of music form better reflect the spirit of the universe.
If we add an "aesthetic" prefix to Ji Kang's "health preservation" problem about the free realm of life, it seems that it can be regarded as Kant's psychological feeling regulation about aesthetics:
When an object is defined as beauty, this relationship is now combined with happiness; However, appreciation and judgment declare that this kind of happiness is effective for everyone; Therefore, it is by no means accompanied by the rapid adaptation of appearance, nor is it the appearance of this object, nor is it the prescriptive basis contained in the concept of goodness. Therefore, in the appearance of an object without any purpose (neither objective nor subjective), there is nothing else if the subjective purpose is removed. (Critique of Judgment, Volume I, Chinese translation, page 59)
Kant's exposition is about the psychological feeling nature caused by the temporal particularity of aesthetics. The core of this nature is the freedom of the mind from external restrictions, which has a purpose and no purpose. As Ji Kang said, "People who don't know right and wrong but don't violate the Tao." Comparing the two, we can see that Kant's exposition and Ji Kang's exposition both run through the same ideological and aesthetic pursuit: no desire, no desire, no indifference, no indifference. However, it also shows the fundamental differences between Chinese and western aesthetics on life issues. Here in Ji Kang, the composition of this aesthetic nature is the ultimate pursuit of life and the purpose of survival. The key is how people realize it and turn it into a personal life state. In Kant's view, this kind of mood is just a feature of many people's mood. As for whether it will be transformed into the actual life state of the individual; That's another question entirely.
Ji Kang had already solved the secret when he wrote "Answering Difficult Health": "China has a master, but there is joy outside. Although there are no bells and drums, there is already music. Therefore, successful people are not mysterious; Those who have the greatest happiness will not be full of grievances; Endless gains and losses! " Kant's aesthetic of "no purpose and purpose" became a symbol of Ji Kang's "supreme happiness".
Here, it is necessary to add a note: Before that, China's ancient music theory always emphasized the meaning of "harmony" in music. That is to say, the fundamental purpose of music is "teaching assistance and pure human relations", but Ji Kang has turned from the harmony of this "group" to the harmony of the "individual". This "harmony" is the completion and end of the self as a social individual. This can be said to be Ji Kang's new development of China's music philosophy.
The second is the theoretical problem of "sound without sorrow and joy" and the theoretical purpose of "sound without sorrow and joy"
Since the pre-Qin dynasty, things have been moved by sound, and the ratio of sound makes them happy. Therefore, there is little room for doubt about "communication between music and politics" and "changing customs and not being good at music". As Liu Xiang said in Shuo Yuan Xiu Wen:
Musicians are kind to others and can be kind to others. Its touching, its changing customs, so the first king taught it. Therefore, I am grateful for the haggard voice, while the people are worried; Slow running is easy to write, and people are happy; Rough and fierce, vigorous and broad-minded, while the people are resolute; Sincerity is the voice of Zhuangcheng, and the people respect it; Abundant meat is easy to control and move, while people are kind; ..... is the feeling of Wang Ben, the degree of recording, the ceremony of breaking, the sum of anger, and the bamboo of the five permanent members ..... Everyone takes their positions and does not give way to each other.
This musical concept, which links sound with "funeral music" and then equates it with "funeral music", has always been regarded as an unchangeable truth. According to this point of view, Ji Kang's proposition that "there is no sorrow and joy in sound" requires great theoretical courage and the pressure of a series of cultural traditions. At the same time, the logical unity of his theory itself is also facing severe challenges. There are two interrelated propositions here: first, the meaning of "sound" without "sadness and joy" means that sound and sadness and joy are right and wrong, and what kind of "sound" does not necessarily have corresponding "sadness and joy", but this does not mean that "sound" does not contain some emotion; Secondly, there is no "sadness and joy" in the "sound", which shows that there is no so-called sadness and joy in the sound itself, and the so-called sound has any feelings and so on. , is completely subjective additional listener. I call the former weak proof and the latter strong proof.
Let's talk about weak proof here.
Ji Kang correctly pointed out that linking the voice with the virtue of ancient sages not only exaggerates the facts, but also superstitions the ancients. However, it is not easy to completely refute this assertion from this kind of "exaggeration" and "blindness" in theory. In other words, it is easy to overthrow the saying that "things are moving" and that "you can tell the three calf sacrifices when you hear the dew", but it is much more difficult to prove that the voice has nothing to do with funeral music.
There are different opinions on the philosophical basis of Ji Kang's theory of "no sorrow and no joy". In the History of Chinese Aesthetics edited by Li Zehou and Liu Gangji, Ji Kang said that he constructed the ontology of music from the perspective of vitality theory, and regarded the "harmony" of music unrelated to sadness and music as a natural extension of the sum of external nature. As for how this extension is related to the purposeful creative activities of people with "sound ratio", there is no clear proof. Ji Kang made a dualistic argument on the sound without sorrow and music, that is, the sorrow and music of social content is one yuan, and the number ratio relationship of sound itself is another yuan. This is completely different from the dualism of philosophical thinking about spiritual and material problems. In The Rise and Fall of Ancient Music (Shandong Literature and Art Publishing House, 1 9 8 9), Hugh Hailin pointed out that Ji Kang demonstrated the existence of music self-discipline on the basis of materialistic philosophy. The explanation here seems even more irrelevant. If music is regarded as a kind of existence independent of people, it is obviously hard to say why nature has never provided any music. Moreover, Ji Kang only explained from the evolution of nature that the number ratio of "harmony" in music inherited the nature of "harmony", and did not say that the nature of "harmony" directly became music.
In my opinion, the explanation of Ji Kangsheng's theory of no sorrow and joy should stand on the standpoint of life theory, which is the principle suitable for China's aesthetic problems.
The purpose of Ji Kang's debate on "sound without sorrow and joy" is obvious, that is, if any kind of sound is associated with certain social content, people can't have a free mood in their feelings about music, and the finiteness of life is so tragic that even a pure land can't be found. This is obviously impossible. Ji Kang deeply felt this from his personal music practice. This can be exemplified by his Fu Qin. This point has been quoted before, so I won't repeat it here.
It is from this personal experience that Ji Kang expounded his proposition from the height of metaphysical speculation at that time:
First of all, as far as music is concerned, it is a self-discipline text composed of different proportions of music. However, how to explain this phenomenon? For example, the mutual telepathy between Boya and Zhong Ziqi on music, people who are good at listening to music and those who are not good at listening to music will naturally have different understandings of the beauty of music. Don't these all prove that music itself is sad and happy?
Ji Kang's proof is divided into two aspects. On the one hand, we must resolutely abandon these vulgar Confucian fallacies and listen to the enlightenment of our own psychological feelings, that is, "from the heart." He said:
However, harmony is as touching as wine. Wine is mainly bitter and sweet, while drunkards use anger and joy. It regards joy as sound, but says there is sorrow and joy, but it still can't see that anger is the cause of wine, but wine has anger and joy.
Obviously, this rebuttal is very powerful. So, on the other hand, back to music itself:
And although the voice is fierce and quiet, each has its own harmony, and the feeling of harmony is spontaneous. Why is it clear? My husband will be in the sitting room, playing the piano with wine, or happy, or crying; Don't mourn for others, the Tao is happy with it; Its voice has not changed in the past, but it is both happy and sad to use. Isn't it evil to brag about all kinds of differences? The husband is only the master of emotions, and he should also be the master of sadness and joy, so everyone is happy. ..... Because it is said that the voice is peaceful, but the sense of things is impermanent; The heart is based on what it has done and should be felt. However, sound is different from heart, and beads are different from each other. How can you be happy and sad too quickly?
As far as music itself is concerned, "it stinks between heaven and earth." Although its good and bad are confused, its body is calm and unchanging. As far as musical instruments are concerned, musical instruments made of different materials also have a natural "harmony":
The good and evil of crows is not due to the good or ill luck in children's mouths, and the turbidity of harps is not due to the clumsiness of operators. The mind can distinguish a good tan, but it can't adjust the fence. Ignorant people can be good at its curvature, but can't make the instrument clear and harmonious. The device is not false, and the fence is not smart. However, the heart and the voice are two different things, and the two things are true, so the intercessor does not look at the appearance, and the heart-beater does not listen to the voice.
Ji Kang proved that there is no difference between sadness and joy in voice from two aspects: the characteristics of music itself and the subjective differences reflected by listeners. As far as the formal characteristics of music itself are concerned, a specific musical work, whether clear or turbid, will not change its basic nature because of its good or bad performance under any conditions. From the listener's point of view, the same piece of music, because it is different from the "aesthetic relationship" of the self, will have great differences in sadness and joy. Here, music is like an opportunity to combine sadness and joy, so there will be "blowing differences and achieving yourself".
If Ji Kang's above viewpoint is compared with the formal beauty of music put forward by Classic of Music Aesthetics in19th century and On the Beauty of Music by Hanslick, it is even more obvious that China people realized this point deeply more than 1000 years earlier than Europeans. The second chapter of this book says:
Musical beauty is a unique beauty unique to music. This is an independent beauty that does not need foreign content. It exists in music and the artistic combination of music. The ingenious relationship between beautiful acoustics, their coordination and confrontation, chasing and meeting, jumping and disappearing-these things appear in front of our intuitive minds in a free form, making us feel beautiful and happy.
These statements are exactly what Ji Kang said in Sound Without Sorrow, Sound with Harmony and Sound between Heaven and Earth. However, Hanslick did not say that "there is no sorrow or joy in the voice". He thinks that voice does not correspond to sadness, happiness and emotion. And because music is like the beauty of artistic decoration, different lines have different performance characteristics, such as "some arc curves sometimes decline gently, sometimes rise abruptly, sometimes meet, sometimes separate, and these large and small arcs echo each other, as if they cannot be integrated, but they are distinct." The formal beauty of music is the performance feature of this generalized fuzziness. Ji Kang also talked about this. He said: "However, the sound is the most touching. The laborer sings his business and the musician dances his work. " In the past, most scholars thought that this was a loophole in Ji Kangsheng's theory of no sorrow and music. In fact, from the expression function of music, it is also divided into two parts, namely, the symbolic function of music itself and the feelings of sadness and joy of the receiver. Therefore, "the sound is the sum of nature, not tied to people: the sound of love and harmony is made of stone, and the sound of harmony is made of orchestral strings."
In this way, Ji Kang basically achieved his theoretical purpose, and interpreted "sound without sorrow and joy" as "sound" which does not correspond to "sorrow and joy", and further promoted the individual's free mood when listening to music self-discipline from the perspective of personal psychological feelings about the beauty of music.
Emancipating the beauty of music from the bondage of traditional morality and transforming it into the medium of individual personality and spiritual freedom is the central content of Ji Kang's On Sound without Sorrow and Music.
Thirdly, "sound" has nothing to do with "funeral music" and the social endowment of music education.
As I said before, it is much more difficult to prove that music has nothing to do with funeral music than to prove that music does not correspond to funeral music.
There are two points to be clarified here: first, Ji Kang does not deny the educational function of music; second, what is Ji Kang's purpose in separating the direct correspondence between music and the tradition of funeral music?
The logical clue that runs through the theory of sound without sorrow and music is the mixture of "weak proof" and "strong proof" I mentioned earlier. That is to say, in Ji Kang's view, saying that "there is no sorrow and joy" means that music itself does not contain any social content. Unfortunately, Ji Kang's proof was not completely successful.
First, Ji Kang cited different musical instruments to prove that sound has nothing to do with funeral music. So, the question here is: Why are different voices different from each other? On the one hand, it is the difference in form he said, that is, the so-called "sound ratio" has become a problem of "music"; On the other hand, it is the problem of generalized performance characteristics. Although different voices have been refined and purified, there is a certain degree of emotionality in the characteristics of any voice, and this emotionality is also the basis for the receiver to associate it with a specific funeral music. Otherwise, music can only be an art form of "harmony and widowhood" if you feel it from a purely formal perspective. Moreover, musicians and music connoisseurs do not think and feel the beauty of music from the purely formal relationship of "number ratio". On the other hand, a simple number ratio does not matter whether it is beautiful or not. The number ratio of music lies in how to impress people's senses. That is to say, Ji Kang's own feeling of the beauty of free state of mind expressed by the sound of the piano is precisely a "self-discipline" medium isolated from life by the sound number ratio, which accords with his perception of life. Of course, it's just that this "feeling" can't be interpreted by traditional funeral music.
Secondly, Ji Kang stole the concept from saying that "sound does not correspond to funeral music" to strongly proving that "sound has nothing to do with funeral music". For example, on the one hand, he said that "jade and silk are disrespectful, and crying is not the main sorrow." The proof is that different parties have different customs, different songs cry differently, make mistakes and misuse, or like to cry or listen to songs; However, his joys and sorrows are all the same. In other words, jade is not the ceremony itself, but a medium to express the content of the ceremony. So is music. If this kind of crying or joy is regarded as the characteristic of music itself, isn't it said that "today, we use the same feelings, we will make different sounds. Isn't this the impermanence of sound?" Ji Kang proved this from two aspects: first, he described the characteristics of music creation, such as a series of formal characteristics that Hanslick said, that is, he focused on the work itself, then ignored the explanation of the music itself and jumped to the explanation of the music value theory. That is to say, Ji Kang draws the conclusion that "sound" has nothing to do with "sadness and joy" from the setting of self-discipline in music itself, and then jumps to the difference of music evaluation under certain social and historical conditions.
So we can see that Ji Kang opened a vast world for him to explain the enlightenment of music. That is, he regards music education as an educational problem, not a natural extension of the characteristics of music itself, but a functional contribution to the social value of music from the external aspects. This is the social root of the so-called "sound with sorrow and joy". He said:
..... The festival of speech, the degree of voice, the device of speech, the number of movements, the need to advance and retreat, * * * as a whole, used by the monarch and the minister in the DPRK, used by Shu Ren at home, with small ambition, long but not lazy, solid heart, and good action. Then face it with respect, persist for a long time, and then become.
Social etiquette and the so-called "changing customs, not being good at etiquette and music" are precisely the order relationship between people and music, which has become a top-down socialization system and deepened into a so-called education method over time.
Another problem of education is from the perspective of the "emotional guidance" function of music. Music itself has no "emotion" or "sadness and joy", but it can express people's feelings by listening and playing, thus making people feel comfortable. This is another reason why people give music enlightenment significance from the social function. He asked this question: "People who change their living habits will inherit disadvantages." The reason is:
Harmony with the heart, harmony outside; Therefore, the song narrates the ambition, the dance proclaims the emotion, and then the literary style is adopted, which is based on elegance, broadcast by eight tones, feeling the sum of ethereal spirit, showing its qi, nurturing its qi, welcoming its laziness, clarifying its qi, making the heart and reason compatible, and the qi and sound corresponding, in line with the expression of emotion, in order to help its beauty. Therefore, Le Kai's love can be seen in the stone, which contains great brilliance and is obvious in the voice.
It should be said that Ji Kang has nothing to do with music from the perspective of the value given to music by society, and this kind of sadness and joy lies in music itself, which proves that it is successful. Of course, this does not mean that he has completed a powerful proof that his "voice" has nothing to do with "sadness and joy". However, it found a sociological basis for his theoretical purpose, that is, the tragic and joyful content of music is endowed by social history. Under certain conditions, a certain historical subject is always embodied as an individual. So as far as a specific musical work is concerned, it is an independent auditor. Therefore, it is reasonable for auditors to give the works their own unique life value. This profound aesthetic thought contained in Ji Kang's On Sound without Sorrow and Music is, to some extent, related to the internal relationship between the ear for appreciating music and expressing the meaning of music works put forward by Marx in 1 8 44 Economic and Philosophical Manuscripts. This is the purpose of Ji Kang to separate the direct correspondence between the characteristics of music itself and traditional funeral music as a social content.
"Today, I don't want to be happy, but I don't know how to be sad without laughing. Don't you know that you are sad but unhappy? "
"Self-satisfied domain" is the formal self that people feel from music. People also use this form to touch their freedom. No wonder Ji Kang touched his last freedom when he played Guangling San at the moment of his execution?
Main reference materials
1, annotation by Dai: Ji, People's Literature Publishing House.
2. Biography of Jin Shu Ji Kang.
3. The Biography of the Three Kingdoms Wang Weizhi.
4. The remarks about Ji Kang in Shi Shuo Xin Yu, such as Ren's birthday, virtue and the number of teenagers.
5. Ji Kang has no sorrow and joy, People's Music Publishing House.
6. Xiu Hailin's book: The Rise and Fall of Ancient Music, Shandong Literature and Art Publishing House, which contains Ji Kang's monograph.
7. Li Zehou and Liu Gangji, editors-in-chief: The History of Chinese Aesthetics, Volume II, Volume I, China Social Sciences Publishing House, contains a monograph by Ji Kang.