In ancient China, music,
together with poetry, was a way to conduct political education. Reviewing music
education in the Zhou Dynasty, the Confucian scholars before the Qin-dynasty unification of China at the time concluded that music could transform
social and cultural practices, stir up one’s inner emotions, and cultivate a
good character. On this basis, they
developed a comprehensive Confucian theory of music and music education.
Subsequently, both “music education” and “poetry education” became important
subjects in the official school system, forming a key part of early Chinese
ritual and music culture.
Yue (乐) is one of the six arts of ancient times, often mentioned together with li (礼 rites / social norms). In contrast to external rules and rites, music touches the emotions and thus can affect human behavior. However, not all music counts as the Confucian yue which must have the effect of making the listener calm and measured so as to willingly behave in accordance with social norms, and thus engage harmoniously with others. Yue is often associated with other forms of ceremonial actions; it is one important way of maintaining proper human relations and encouraging better social practices and customs.
This refers to the effect a ruler’s virtuous behavior has on his subjects, in the way the wind influences the myriad things. Moral cultivation is an important part of education. The Confucian view is that a ruler should set an example to the people, influencing them unobtrusively. If he is moral and ethical in conduct, the people will follow his example and abide by the rites and moral standards willingly without being under duress. The term also refers to the prevailing social mores in a country shaped by a ruler's influence.
Originally, this term meant to educate and influence people. Later, it came to refer to the function of shaping customary social practices, namely, the educational role of literary and artistic works in changing social behaviors and popular culture. Originating from “Introductions to Mao’s Version of The Book of Songs,” the term is one of the important concepts of the Confucian school on the function of the arts. It believes that poetry and music have a role to play in shaping people’s mind, reflecting the notion that rulers can educate and influence the general public by imparting a particular ideology in a top-down fashion, thereby achieving the desired effect of cultivating the general culture. The influence of this concept is far-reaching; it has impacted much of artistic creation in China, all the way from the poetry and music of the pre-Qin period to literary and artistic works in the modern times. It not only reflects the Confucian view on moral education, but also imparts a sense of social responsibility on writers and artists. However, if an artistic work overemphasizes moral cultivation, it runs the risk of placing ideology before artistic form, thus compromising its aesthetic value. The right way is to embed teaching in entertainment and let a literary or artistic work exert its influence on social mentality in a subtle and imperceptible way.
Shaping the mind through education was a key concept of the political philosophy and an essential way of governance in ancient China. Rulers usually used a combination of means, both visible and invisible, to subtly spread their values among people so that these values would be observed in people’s daily life, leading to integration of governance and social mores. These means include issuing administrative decrees, conducting moral education, creating a favorable environment, disseminating popular literature that promoted ethical values, and selecting officials through imperial examinations.
The term refers to a kind of classical music in China. Noble and pure, it was the music used by kings in ancient times when worshipping heaven, earth, and ancestors, receiving congratulations from other quarters of the world, or holding feasts and major ceremonial activities. Chinese classical music often eulogized the royal court’s accomplishments; its melodies were tranquil and stately, its wording elegant and tasteful, and its performance of song and dance followed explicit codes of etiquette. Rulers of all dynasties used this kind of music as an effective means to instruct their people and promote civic virtue. As a courtly tradition, the music was necessarily conservative. However, throughout history the assimilation of elements of folk song and dance, as well as the music and dance of foreign lands, inevitably led to innovation. Thus, it maintained throughout the ages the highest levels of musical excellence. After the Tang Dynasty, this kind of music spread to other Asian countries such as Japan, Korea, and Vietnam, becoming a constituent part of their musical culture.
It is originally a term in ancient Chinese music. It has two meanings: 1) The refined and pure music encouraged by Confucian and official circles; sometimes it was also a general term for the five notes of ancient music gong, shang, jue, zhi, and yu. 2) Examples of the finest poems and songs. Confucian scholars believed that the content and music of The Book of Songs were the best and most refined, and thus were set as the models for zhengsheng, or the finest poetry. Gao Bing(1350-1423) of the Ming Dynasty named his collection of carefully selected Tang poems A Selection of Finest Tang Poems in an effort to present the finest and purest examples of different styles of Tang poetry for later generations.
This refers to popular folk music in history, as opposed to formal ceremonial music. The term, originally “the music of Zheng and Wei,” referred to music from the states of Zheng and Wei during the Spring and Autumn and the Warring States periods. Unlike stately, grand and highly structured classical music, the music of Zheng featured free-flowing melodies and a wealth of variations, with lyrics that often spoke of the love between men and women. Confucius (551-479 BC) felt that works of this sort gave free rein to personal emotions and lacked purity in ways of thinking, that they were not conducive to educating people through etiquette and music, and should therefore not be permitted. Many scholars subsequently used “the music of Zheng” to refer to lowbrow arts, but others considered these tunes to be folk songs which were a form of popular culture, a source of artistic creation and a complement to highbrow arts.
The term is used to describe efforts to teach people essential ideals and principles of renwen (人文) and guide them to embrace goodness with the aim of building a harmonious – albeit hierarchical – social order, according to the level of development of a civilization and the specifics of the society. Renwen refers to poetry, books, social norms, music, law, and other non-material components of civilization. Hua (化) means to edify the populace; cheng (成) refers to the establishment or prosperity of rule by civil means (as opposed to force). The concept emphasizes rule by civil means, and is another expression of the Chinese concept of “civilization.”
This is one of the important functions of music. Social practices are common forms of behavior formed within communities over time, and they can also include aspects that do not conform to rites. Changing such widespread habits is extremely difficult and cannot be accomplished by mandatory regulations alone. This is where music comes into play by affecting and stirring people’s emotions so that they gradually change their ways and willingly conform to the requirements of rites.
This term is an example of Confucian literary thinking. Confucian scholars believed that music gave expression to people’s thinking and emotions, so a country’s music reflected whether government integrity was upheld, whether people enjoyed prosperity, and whether the social atmosphere was amiable and sincere. According to Zuo’s Commentary on The Spring and Autumn Annals, during his diplomatic mission to the State of Lu in the Spring and Autumn Period , Prince Jizha of the State of Wu learned about the governance of various vassal states and regions at the time by listening to their music performed by the people of Lu. This should be the origin of the term “assessing governance by listening to music.” This concept first emerged in the Qin and Han dynasties, which removed the boundary between art and government and made artistic aesthetics a part of public life. It gave expression to Confucian literary thinking which was based on governance and ethics and added a political and ethical dimension to the ancient Chinese literary and art theory.
Confucian scholars believed that music interacts with both society and its political evolution; it also reflects the rise and decline of a state’s political strength and changes of social customs. If a state suffers from political corruption and social turmoil, its music and poetry will be full of resentment and anger. Hearing such music and poetry, the ruler must promptly review his governance and correct abuse of power so as to avoid downfall.
This term refers to the music of a state that is about to disintegrate. Later, it also refers to decadent and immoral music. The Confucian view was that music of a state on the verge of collapse tended to be dejected and demoralizing. As the downtrodden people endured immense suffering, their music and poetry were invariably full of sorrow and bitterness. If the ruler failed to wake up to the reality, the fall of his state was imminent.
Confucian scholars believed that music interacts with both society and its political evolution; it also reflects the rise and decline of a state’s political strength and changes of social customs. Music education fosters good governance and social stability. In an age of peace and stability with enlightened governance and harmony, its music and poetry are characterized by serenity and joyfulness. “Music of an age of good order” also refers to some eulogies in The Book of Songs.