Abstract
In the study of Chinese Taoism, it is customary to compare the ideas of Zhuangzi and Laozi, which are both similar and different in philosophical musical and aesthetic concepts. This article analyzes the general views of Zhuangzi and Laozi on the musical-aesthetic concept, explores the subjective understanding of the internal factors of music, its “self-existence” and “selfhood”. The study presents an analysis of musical aesthetics, outlined in Laozi’s book, reveals its new meaning and significance in traditional Chinese culture.
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