Ancient Music

Chinese Ancient Music

Traditional Chinese culture comes from rural civilization, focusing on the harmony of nature, the harmony between human beings and nature, the harmony between human beings and society, the harmony between human beings, and the harmony between the body and heart of human beings. According to mainstream Chinese traditional thoughts, the lives of human beings are in coordination and unity with other lives in the universe, meaning they are in harmony with each other. Hui Shi, who was the first to have such an idea, said that "Human beings should treat natural lives in an equal way because they are closely linked with each other."

Harmony between human beings and nature was the highest goal of the ancient sages. As soon as it was created, Chinese music has adopted nature as its first theme. The famous Guqin song Lofty Mountains and Flowing Water makes people think about high mountains and flowing waters. However, its simulation to nature is quite different from that in western music. In the Lofty Mountains and Flowing Water, the mountains and water have been integrated with people so that it can reveal people's emotions. The same concept can be reflected in the landscape paintings and poems of ancient China. Since humans are in harmony with nature, they have become a part of nature, rather than a spectator or an appreciator. In this way, the concept of "harmony between human beings and nature" is reflected in the music.

In fact, most traditional Chinese songs, including Spring River and Flowers at the Moonlit Night (Chun Jiang Hua Yue Ye), Fishermen Singing at Dusk (Yu Zhou Chang Wan), Wild Geese over the Clam Sands and Three Variations of Plum Blossoms, Autumn Moon over the calm Lake (Ping Hu Qin Yue) and The Moon Reflected on the Er-Quan Spring (Er Quan Ying Yue), don't only aim to describe natural scenes. They are all examples of harmony between human beings and nature in music.

The ideologists of the pre-Qin period thought that music had a close relationship with nature, human beings, and society, and it was a kind of culture with profound natural and social significance. Both the Confucian concept pursuing propriety and music and the Taoist concept of pursuing harmony between human beings and nature were created on the basis of the "harmony" concept, namely, music is a way to seek harmony between human beings and nature. In this way, music is connected to nature and society. Taoists advocate appreciating the beauty of nature, which are called Tianyue and Tianla. Confucians consider music is a tool for adjusting emotions and cultivating morality, and it shoulders the responsibility of civilizing the people, evaluating political gains and losses, and coordinating social and ethical orders. In addition, there is another influential music concept from Buddhism, namely listening to the connotations of music by heart.

Propriety and Music in Confucianism

Propriety is the generic term for the rites related to daily lives and social activities, which are used as codes of conduct for human behaviour. The Duke of Zhou (Zhougong) called for making rites and music at the same time, aiming to civilize people through discipline and self-discipline. Music could be used to adjust the temperament of people, while rites could be used to regulate the behaviour of the people. Therefore, people would be willing to obey the social and ethical codes and behave in a proper way. Society would then be stable and people would live peaceful lives.

It's said that Confucius once listened to Shao music, which was so wonderful that he had no taste even when eating meat. Confucius loved music very much. He pointed out, "It is by the Odes that the mind is aroused. It is by the Rules of Propriety that the character is established. It is from Music that the finish is received.〃 This kind of thought has become an important direction for cultivating humanity. In his opinion, music was an important part of developing a majestic personality and enhancing morality. He believed music could play an important role in self-cultivation and safeguarding the stability of a state.

In the Analects of Confucius Shu Er, it says that when a song was good, Confucius would request it to be repeated and then he would join in the singing. It reflects that Confucius loved music and respected the singers. However, his thoughts about music also have something to do with hierarchy. Confucius said to the head of the Ji family, who had eight rows of pantomimes in his area, "If he can bear to do this, what may he not bear to do?" In this story, Confucius thought the head of the Ji family should not enjoy the music that only the King could enjoy. He considered this to be in contempt of the King.

Confucius said, "If a man is without the virtues proper to humanity, what has he to do with the rites of propriety? If a man is without the virtues proper to humanity, what has he to do with music?" He highly valued developing music by establishing rites and managing the country through propriety and music.

The function of music was also mentioned in the Analects of Confucius, such as: "The first to come observing ritual propriety and playing music was the simple folk; those who came later were the nobility. In putting ritual and music to use, I would follow those who came to them first." It reflects that Confucius considered music as one of the most important bases for selecting talents.

Confucius's ideas about music apparently had a conservative and retrospective color. He insisted on "being happy but not lascivious, and being sentimental but not mawkish." Music should be used to express the moderate and social feeling of humans rather than excessive and animal-like emotions. He said music should be a sound of peace and harmony, and advocated "Siwuxie" (thoughts free of evil intention, and “Wuxie” meaning rites), with regard to music content. That was to say, music should be in accordance with rites and not violating social etiquette, and should be a highly harmonious integration of beauty and kindness.

From the perspective of good human nature, Mencius considered music was a natural way in which people expressed their thirst for happiness. Loving beautiful music is human nature. Meanwhile, Mencius also noticed the educational role of music, pointing out that moral music was more touching than moral speeches. In Mencius's eyes, "sharing happiness with people" was the key in days. This coincided with his people-based thought with the core belief that "the people were the most important element in a state; next were the gods of land and grain; least was the ruler himself." Ideas about music held by Confucius and Mencius were just isolated words and unsystematic. On such a basis, however, Confucians of later generations developed a relatively complete music ideological system.

Yuelun (On Music) written by Xunzi and The Book of Music that was finished in the Western Han Dynasty (206BC-25AD) summarized and developed early Confucian music ideas. The Book of Music held that music was something subjective affected by objective matters, and "only music couldn't be disguised, that music is the revelation of one's true feelings' Shangshu Yaodian, a piece of classic work in the pre-Qin period, said music "was a link to the gods and ghosts and could inspire the dances of all beasts."

Xunzi Yuelun said, "Music could deeply touch the hearts of people and play its educational role quickly." Xunzi continued many ideas of Confucius and further developed them into the music theory of Fajia (法家the legalist school). He believed that people needed music and this was inevitable. But to stave off immorality and chaos, "The Ya and Song must be formulated to guide the development of music," and "efforts should be made to touch the good side of human nature and thus keep music from the evil spirits." Xunzi opposed "obscene music," "evil music" and "the music of Zheng and Wei Kingdoms," which actually referred to folk music. He said music "could educate people and deeply move them," and "transform outmoded habits and customs." The social function of music was thus elevated to a position of political education.

In a word, the pre-Qin Confucians considered "rites should be used to control people's behaviours, and music used to unify people's voices.〃 Ritual music should be available to people to improve themselves. The Confucian concept of "cultivating oneself and putting family in order, governing one's nation and stabilizing the world"- involving every aspect from self- cultivating, social harmony to political civilization and world peace - that ran through the ritual music ideas, reflected the Confucians' recognition of music having a social in an all-around way.

The Dao (natural way) of Heaven

Ancient Chinese philosophy included two types of concepts about "heaven": One was "the Dao (the natural way) of heaven, which was to say, heaven was nature. Just as Laozi said, "People should obey the earth, the earth obeys heaven, heaven obeys the Dao and Dao obeys nature" (Tao Te Ching . Chapter 25). The relationship between humans and heaven was actually about relations between humans and nature. The other was the concept of the "heaven's will," which held the view that "heaven" had its will. Such famous words as "when former kings had any (important) business, they gave reverent heed to the commands of Heaven" (Shangshu Pangengshang), showing that "heaven" mentioned here could be equal to the gods.

The Taoists pursued harmony between music and nature, and harmony between humans and the universe. They opposed shackling human nature and music, advocating music as a way to express people's true and natural feelings, and upheld human freedom and music liberation. The Zhuangzi Qiwulun says, "The sound of humans, earth, and heaven" were the foundation of music. Here, the "sound of heaven" was that of nature, which reflected the view of music focusing on the "integration of humans and nature." Ruan Ji also stressed "integrated nature" in Yuelun.

"Dayinxisheng" (an extremely loud sound cannot be heard) reflected Laozi's view towards music that was a philosophical advance in the natural outlook on music at that time. Here, "loud" might equal such Taoist concepts as "Dao," "Nature" and "Inaction." The so-called "loud sound" referred to sound in a natural state, and could be interpreted as the "sound of heaven." Also, "we call the sound that we listen to, but don't hear as "Xi", "Dayinxisheng" actually included two layers of meanings: i) The loudest and most beautiful music was that in line with the "Dao” - the sound of heaven that was natural and not man-made; ii) The nature of music was beyond perceptual knowledge and silent.

Based on Laozi's theory of "Dayinxisheng”, Zhuangzi further proposed a series of concepts: "The sound of heaven, earth, humans and natural happiness and ultimate happiness," "the heaven and earth show their beauty with no words," "simplicity is beauty," "transform nature in accordance with the laws of nature" and "cutting and polishing make it return to simplicity," and so on. All these brought the ancient natural outlook on music to a higher philosophical level.

The core of Zhuangzi's view on music was the word "Tian" (天, the heavens). "Heaven and earth show their beauty with no words," and the loudest and most beautiful music was the "sound of heaven," which rightly coincided with the "integration of humans and heaven" that was advocated by Taoists. Zhuangzi dealt a lot with the relationship between heaven and humans. Zhuangzi inherited Confucius's fatalistic inclination on this issue, abandoned the ideas that highlighted the positive action of people, and in the meantime, denied the role of people in nature and further established his own ethical system. He believed humans came from nature, and all the creatures on the earth were from nature as well. But humans couldn't change nature.

He also proposed to return to nature and the state of pureness and inaction.

Most traditional Chinese artists have a deep affection for nature. Just as Ji Kang wrote in his Eighteen Four-word Poems on His Brother's Entry into the Army, "I feel free to use both my hands and eyes by playing the qin and looking up at the flying birds." This showed that traditional Chinese music focused on expressions of people's feelings and experiences in nature and the integration of "humans and nature," which was closely associated with the influence of music views advocated by Laozi and Zhuangzi. Undoubtedly, Zhuangzi was among the most outstanding representatives of ancient China's natural outlook on music.

The Inwardness of Zen

Zen (禅) is a school of Buddhism in China. Its doctrine focuses on an enlightened mind, becoming a Buddha after sudden enlightenment, natural Buddhist nature, and relief. Zen highlights inwardness and sudden enlightenment, holding that for those who pursue Buddhism, they can perfect the self and become Buddha so long as they enlighten their minds and insights. Therefore, the characteristic of Zen musical thoughts is the perception of matters with the mind, and it is believed that the mind is very important for feeling music.

The thunder of silence in Zen upholds listening to the thunders from silence by means of the force of the mind, and to silence with the mind. Baiyin Zen master asked Buddhist monks to listen to the sound of a hand. That is the reason. According to Zen, nature is unlimited in-depth and broadness with profound conception. So long as one listens attentively, he or she can enter the spiritual realm beyond the constraints of knowledge and interests. The music influenced by Zen pursues such Zen realms as, "Everything is silent, only the sounds of bells can be heard."

en music and Confucian music share a lot of similarities, both taking fairness, peace, simplicity and elegance, and grandeur as their basic principle. Confucianism advocates music based on rituals, holding that music should serve rituals, and music is subordinated to politics. The Zen masters also take music as a sharp weapon to carry forward from Buddhism. Zen upholds that if one can apprehend original nature, he or she can reach enlightenment. This kind of transcendent attitude towards life was suitable for those ancient scholars who suffered from career setbacks and became disappointed in reality. Ancient scholars pursued quiet minds, trying to escape fetters for the pursuit of the freedom of spirit and creation, who objectively promoted the development of traditional music, and freed it from the constraints of practical value, and made it focus on the thoughts and feelings of the creators. For instance, the guqin is a kind of traditional music art with the greatest traditional Chinese characteristics. For a long time, it was considered an instrument for self-cultivation. In performance, its focus was placed on the self-centered feeling of the performer.

Zen believes that musicians, in the creation process, either imagine themselves as the components of their works or drink heavily to let their minds wander freely, with the purpose of shifting subjective thoughts and feelings into the object to reach two-way communication between the subject and the object. Zen calls the inwardness as the assimilation of object and self. For the assimilation of object and self or neglect of object and self, the final goal is to reach the realm free from vulgarity. In short, Zen highlights the role of the mind, and music creation cannot go with the mind. Zen music theory has a quite far-reaching influence on the principal spirit of traditional Chinese music.

Ancient Confucianism, Taoism, and Zen held the outlook on nature, in other words, harmony between man and nature, which has a profound influence on China's traditional music culture. From that perspective, it is thought that music creation is based on the mutual communication between objects and the self, and the exchange between the mind and objects. The said outlook, therefore, has become the highest aesthetic standard for ancient Chinese music. To have an in-depth understanding of the enchantment of Chinese national music, it is necessary to have a good understanding and appreciation of the connotations of ancient Chinese music culture.