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what was confucious's view on music
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Answer:
Few will disagree that music is the core of Confucian aesthetics. Confucian notions on music are deeply embodied in Chinese musical life and converge with important intellectual streams in China and other Asian countries. In Confucianism as it later developed, music - a contextual phenomenon rather than an isolated one in Chinese culture - seemed always to be associated with ritual (li 禮). Rooted in humanity and aiming to purify human virtues and shape human conducts, music has a complementary relationship with ritual. If ritual is the appearance then music is the harmonisation of virtues. On the whole, music in Confucianism is regarded as a device for self-cultivation, a vehicle of self-expression, a force of social stability, a political tool, and a medium of communion between man, nature and supernatural powers.
Inspired by the Duke of Zhou (12th century BCE, Zhou Gong 周公), who had apparently constructed ritual and created music during the Zhou dynasty (1111?-221 BCE), the enforcement of music education was advocated in the teachings of Confucius. Music was included in the liuyi in which Confucius taught his disciples to become skilled. Although there is no systemic theory of music by Confucius, many of his discourses (in which the Lunyu is probably the most representative) and the Shi Jing provide an insight into the master’s musical concepts which form the basis of the Confucian musical ideology. “Personal cultivation begins with poetry, is made firm by rules of ceremonials, and is perfected by music.” (Lunyu, in the chapter “Tai Po”) The trinity of poetry, ritual and music was central to all kinds of social events such as ceremonies or banquets in ancient China. Confucius values music as the most influential member of the trilogy, capable of completing the personal development of the individual. Thus, through music, one’s ethical values are cultivated and one becomes the ideal Confucian gentleman: an honourable person, a paragon of moral integrity.
Moral integrity is contained within the Confucian idea of ren 仁, which translates as “humaneness”. Music is not merely a perfected form in which humaneness is characterised: according to Confucius, the essence of music is humaneness. A man who is not virtuous cannot claim to be a musician nor have anything to do with music. He believes that those compositions which do not involve virtues or convey humanity are bad works, at best only the sounds of instruments. “Is [music] merely bells and drums?”(Lunyu, in the chapter “Yang Huo”) he asks. Correspondingly, Confucius drew the distinction between the normative-official music (yayue 雅樂) such as the music of Shao 韶 樂 or the ode of Kuan Chu 關睢, and the licentious-popular music (suyue 俗樂) such as the sounds of Zheng and Wei 鄭衛之音. The former harmonises the emotions while the latter does the opposite. In fact, harmony (he 和) is another essential concept that is constantly emphasised in Confucian doctrines. In perfection of inner virtues, an embodiment of outward behaviours and ultimately, the unity of humanity and ritual, music (or at least what is regarded as “correct” music in the Confucian view) is acknowledged as being capable of bringing man and his family, society and the universe into spontaneous harmony – which was the fundamental purpose of music in Confucianism.
The further refinement and development of the Confucian musical ideology is illustrated in Meng Zi, for whom all aesthetic activities must begin with human virtues. He declares that the socio-political meaning of music will function successfully when the enjoyment of music is “sharing with people”. Accordingly, he introduces the new idea that modern-popular music is as ethically valid as traditional-classical music. Nevertheless, the most significant contributor to the development of Confucian musical philosophy was Xun Zi in his Yue Lun. He reasserts the traditional Confucian vision of music and establishes a systemic theory, thus refuting Mozi 墨子 (478?-392? BCE; Modi 墨翟). By contrast to Meng Zi, Xun Zi believes man’s nature is evil and urges that music be the artistic embodiment of emotions and the vital guideline of conduct in a feudal society. He also takes the further step of applying Confucian principles to public and military matters.
If Confucius initiated the “Confucian” concept of music and Xun Zi established the theoretical basis for it, Confucian musical aesthetics remained unelaborated until the more specific and complete treatises were presented in the Yue Ji. It contains comprehensive philosophical interpretation of music and summarises the Confucian thinking of music before Western Han (206BCE-24CE). Regarded as the canonical Confucian dissertation on music and the first fully-developed musical aesthetics in the Chinese Classics, the Yue Ji was influential in all Chinese arts.
Answer:
THE ANSWER IS:-
CONFUCIUS MAKES THE PREVIOUS DISTINCTION IN RELATION TO HIS EMPHASIS ON EMOTION , FOR . ''6 SINCE MUSIC CAN BE PURE OF VULGAR , PURE MUSIC MUST BE USED IF CHARACTER IS TO IMPROVE THROUGH MODERATION OF EMOTIONS .
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