The Concept of "Harmony" in Chinese and Western Art Aesthetics: A Case Study of Choral Sound Aesthetics

Abstract

"Harmony" serves as a fundamental aesthetic category in both Chinese and Western art; however, it manifests distinct characteristics due to cultural differences. In traditional Chinese aesthetics, "harmony" is rooted in philosophical concepts such as "the unity of heaven and man" and "the harmony of rites and music," emphasizing a holistic integration. Conversely, in traditional Western aesthetics, "harmony" arises from aesthetic principles centered on "proportion of numbers" and "moderation," seeking formal harmony through orderly arrangements. This paper employs literature review and case analysis to elucidate the connotations and developmental trajectories of the aesthetic concept of "harmony" in both China and the West. Focusing on the aesthetics of choral sound, it investigates the intrinsic relationships among core elements of choral aesthetics, including part harmony, timbre fusion, and emotional resonance, in relation to the concept of "harmony" across these cultures. Additionally, by examining classic examples such as ancient Chinese court music, religious choral works from the Western Renaissance, and contemporary choral compositions that blend Chinese and Western elements, this paper assesses the guiding significance of the "harmony" aesthetic in choral conducting techniques and interpretation within diverse cultural contexts.