On the Category Structure and Metaphorical Extension of "声(Sheng)", "音 (Yin)" and "乐(Yue)" in Chinese Musical Discourse

Abstract

In Chinese musical discourse, "声(Sheng, raw sounds)", "音(Yin, modulated sounds)" and "乐(Yue, music)" constitute a hierarchical and progressive category sequence. Based on the prototype category theory of cognitive linguistics and combining Rosch's category hierarchy theory with Lakoff's conceptual metaphor theory, this paper systematically investigates the category definition, progressive mechanism and metaphorical expansion of this tripartite hierarchical structure. The hierarchy of "声(Sheng)-音(Yin)-乐(Yue)" established in Yueji corresponds to physical category (Sheng, the subordinate level), artistic category (Yin, the basic level) and value category (Yue, the upper level) respectively, and the leap among them is embodied in the three cognitive mechanisms of category promotion, metonymy operation and cognitive subject differentiation. "Yue", as the upper category, integrates the triple meanings of playing music, ritual music and spirit, and realizes the cognitive leap from sensory experience to political insight through the metaphorical chain of "To discriminate raw sounds is to know the modulation of sounds; to know the modulated sounds is to know the music; and to know the music is to know (the character of) the government". Through the method of knowledge archaeology, this paper also reveals the flat compression of the modern concept of "music" to the traditional tripartite structure, and advocates the restoration of the original cognitive appearance of the hierarchical distinction between "声(Sheng, raw sounds)", "音(Yin, modulated sounds)" and "乐(Yue, music)". This category structure is not only a conceptual tool for Chinese music classification, but also a genetic code for understanding the music cognitive style of Chinese people.