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A set of bronze bells called bianzhong c. 5th century BC from Hubei

The Chinese ritual and music system (Chinese: 礼乐制度; pinyin: Lǐ yuè zhìdù) is a social system that originated in the Zhou dynasty to maintain the social order.^[1] Together with the patriarchal system, it constituted the social system of the entire ancient China and had a great influence on the politics, culture, art and thought of later generations.^[2]^{[better source needed]} The feudal system and the Well-field system were two other institutions that developed at that time.^[1] According to legend it was founded by the Duke of Zhou and King Wu of Zhou.^[3]^[4]^[5]^[6]^[7]^[8]

The Ritual Music System is divided into two parts: ritual and music. The part of ritual mainly divides people's identity and social norms, and finally forms a hierarchy. The music part is mainly based on the hierarchical system of etiquette, using music to alleviate social conflicts.^[2]

The system developed from older shamanic traditions^[9] and was seen as having cosmological significance,^[10] it was seen as representing the balance between Yin and Yang^[10] and the Five Elements.^[10]

The regulations on ritual and music strengthened people's concept of hierarchy, played a symbolic role in establishing authority, alongside standardizing rule across the civilization.^[2]

Predecessors

Archaeological evidence indicates that music culture developed in China from a very early period. Excavations in Jiahu Village in Wuyang County, Henan found bone flutes dated to 9,000 years ago, and clay music instruments called Xun thought to be 7,000 years old have been found in the Hemudu sites in Zhejiang and Banpo in Xi'an.^[11]

Bowl from the Majiayao culture (c.3300 – 2000 BC) decorated with figures of men dancing in line

Pictorial representations of dance have been found in Chinese pottery as early as the Neolithic period (before 2000 BC), showing people dancing in a line holding hands.^[12] The earliest Chinese character for "dance", , appears in the oracle bones and represents a dancer holding oxtails in each hand.^[13] According to the Lüshi Chunqiu (compiled around 239 BC): "In former times, the people of the Getian clan (葛天氏) would dance in pairs [or threes] with oxtails in hand, stamping their feet and singing eight stanzas."^[6]^[14]

Primitive dance in ancient China was also associated with sorcery and shamanic ritual. An early shape of the Chinese character for sorcerer, wu (巫), represented dancing shamans or their sleeves;^[15] wu therefore described someone who danced as a mean of communication between gods and men.^[9] There are many ancient records of shamans and sorcerers who danced, for example performing the rain dance at time of drought. The rain dance (舞雩, wǔyú) platform is mentioned in many ancient texts including the Analects of Confucius.^[16]

Zhou Institution

According to tradition, yayue was created by the Duke of Zhou under commission from King Wu of Zhou, shortly after the latter's conquest of Shang. Incorporated within yayue were elements of shamanistic or religious traditions, as well as early Chinese folk music, which formed the backbone of the Ritual Music System. Dance was also closely associated with yayue music, each yayue pieces may have a ceremonial or ritual dance associated with it. The most important yayue piece of the Zhou dynasty were the Six Great Dances, each associated with a legendary or historical figure.^[3]^[4]^[5]^[6]^[7]

Yunmen Dajuan (雲門大卷), from the Yellow Emperor era, performed for the veneration of the sky.
Daxian (大咸, or Dazhang 大章), from the Emperor Yao era, for the veneration of the earth.
Daqing (大磬, or Dashao 大韶), from the Emperor Shun era, for the veneration of Gods of the Four Directions, or the sun, moon, stars and seas, the dancers may have dressed up as birds and beasts. One of the earliest documents, Shujing, mentioned the ritual of "beating on the stones as all the wild animals dance".^[17]^[18] The performance of the dance was highly regarded by Confucius.
Daxia (大夏), was a dance performed in praise of Yu the Great of the Xia dynasty, famous for his work on flood control. In this dance, 64 performers danced bare-chested wearing fur caps and white skirts. The movements of the dance may imitate the manual labour performed during flood control.^[19]
Dahu (大濩), from Tang of Shang dating to the end of the Xia dynasty, for the veneration of female ancestors.
Dawu (大武), in praise of King Wu of Zhou, used for ancestral worship. It was military focused in addition

Music in the Zhou dynasty was conceived as a cosmological manifestation of the sound of nature integrated into the binary universal order of yin and yang, and this concept has enduring influence later Chinese thinking on music.^[10] "Correct" music according to Zhou concept would involve instruments correlating to the five elements of nature and would bring harmony to nature. Around or before the 7th century BC, a system of pitch generation and pentatonic scale was derived from a cycle-of-fifths theory.^[10]

The Book of Rites records a number of situations where yayue might be performed. These included ceremonies in honour of Heaven and Earth, the gods or the ancestors. There were also detailed rules on the way they were to be performed at diplomatic meetings. Yayue was also used in outdoor activities, such as aristocratic archery contests, during hunting expeditions, and after the conclusion of a successful military campaign. Yayue was characterised by its rigidity of form. When performed, it was stately and formal, serving to distinguish the aristocratic classes. It was sometimes also accompanied by lyrics. Some of these are preserved in the Book of Songs.

Spring and Autumn period reactions

With the decline of the importance ceremony in the interstate relations of the Spring and Autumn period, so did yayue. Confucius famously lamented the decline of classical music and the rites. Marquess Wen of Wei was said to prefer the popular music of Wey and Zheng to the ancient court music, listening to which he may fall asleep.^[20]^[21] Confucius, faced with the social chaos of the Spring and Autumn period, strongly advocated the restoration of the Ritual Music System of the Western Zhou, and advocated "restoring rituals to oneself" and to social problems, and to be able to realize a harmonious society in which the world is "righteous."^[22]

Chinese philosophers took varying approaches to music. To Confucius, a correct form of music is important for the cultivation and refinement of the individual, and the Confucian system considers the formal music yayue to be morally uplifting and the symbol of a good ruler and stable government.^[23] Some popular forms of music, however, were considered corrupting in the Confucian view.^[24] Mozi on the other hand condemned making music, and argued in Against Music (非樂) that music is an extravagance and indulgence that serves no useful purpose and may be harmful.^[25] According to Mencius, a powerful ruler once asked him whether it was moral if he preferred popular music to the classics. The answer was that it only mattered that the ruler loved his subjects.

Confucius not only advocated the restoration of the Ritual Music System, but also practiced it physically. Legend has it that he asked Laozi about rituals and became so obsessed with music that he "did not know the taste of meat for three months".^{[citation needed]}

Confucius heavily promoted the use of music with rituals or the rites order. The scholar Li Zehou argued that Confucianism is based on the idea of rites. Rites serve as the starting point for each individual and that these sacred social functions allow each person's human nature to be harmonious with reality. Given this, Confucius believed that "music is the harmonization of heaven and earth; the rites is the order of heaven and earth". Thus the application of music in rites creates the order that makes it possible for society to prosper.^[26]

The Confucian approach to music was heavily inspired by the Shijing and the Classic of Music, which was said to be the sixth Confucian classic until it was lost during the Han dynasty. The Shijing serves as one of the current Confucian classics and is a book on poetry that contains a diversified variety of poems as well as folk songs. Confucius is traditionally ascribed with compiling these classics within his school.^[27] In the Analects, Confucius described the importance of the art in the development of society:^[28]

The Master said, "My children, why do you not study the Book of Poetry?
"The Odes serve to stimulate the mind.
"They may be used for purposes of self-contemplation.
"They teach the art of sociability.
"They show how to regulate feelings of resentment.
"From them you learn the more immediate duty of serving one's father, and the remoter one of serving one's prince.
"From them we become largely acquainted with the names of birds, beasts, and plants."^[28]

In ancient China the social status of musicians was much lower than that of painters, though music was seen as central to the harmony and longevity of the state. Almost every emperor took folk songs seriously, sending officers to collect songs to record the popular culture. One of the Confucianist Classics, The Classic of Poetry, contained many folk songs dating from 800 BC to about 400 BC.^{[citation needed]}

Later history

The Imperial Music Bureau, first established in the Qin dynasty (221–207 BC), was greatly expanded under the emperor Han Wudi (140–87 BC) and charged with supervising court music and military music and determining what folk music would be officially recognized. In subsequent dynasties, the development of Chinese music was influenced by the musical traditions of Central Asia which also introduced elements of Indian music.^[29]^[30]

Zhou yayue was lost in the Han dynasty^[31]

During the Han dynasty the bureau served a purpose of incorporating elements from folk music into ritual music.^[1] The music became increasingly secularized as it became more removed from its shamanic roots.

In the Tang dynasty incorporation of elements from popular music occurred once again^[31]^[1]

During the Song dynasty, with Neo-Confucianism becoming the new orthodoxy, yayue was again in ascendancy with major development, and a yayue orchestra in this era consisted of over 200 instrumentalists.^[32] A notable ritual was called "The Great Feast" where the emperor would drink wine.^[1] Two important texts from the Song dynasty describing yayue performances are Zhu Xi's Complete Explanation of the Classic of Etiquette and Its Commentary (儀禮經傳通解) and Collection of Music (樂書) by Chen Yang (陳暘).^[33] In 1116, a gift of 428 yayue instruments as well as 572 costumes and dance objects was given to Korea by Emperor Huizong upon request by the Emperor Yejong of Goryeo.^[34] As a result, elements of Song dynasty yayue music such as melodies are still preserved in Korea.^{[citation needed]}

Lowering faith in government meant a decline in the system in the Song and Ming dynasties^[1]

Some forms of yayue survived for imperial ceremonies and rituals until the fall of the Qing dynasty when the imperial period of China came to an end. Yayue however was still performed as part of a Confucian ritual in China until the Communist takeover in 1949 when it completely disappeared. There has been a revival in yayue in Confucian ritual in Taiwan since the late 1960s, and in mainland China since the 1990s.^[35] A major research and modern reconstruction of yayue of the imperial court was initiated in Taiwan in the 1990s, and in mainland China a performance of yayue music in 2009 by Nanhua University's yayue music ensemble in Beijing also spurred interest in this form of music.^[36] There are however questions over the authenticity of these revived and recreated yayue music and dances, especially the use of modern forms of instruments and various substitutions rather than the more ancient and original forms, nonetheless some argued that such music and dances have always changed over time through succeeding dynasties, and that any changes introduced in the modern era should be seen in this light.^[36]^[37]

Dance used for politics in the 20th century

In the early 20th century, there was a call to "make use of old forms" of literature and art as a means of connecting with the masses.^[38] Traditional Chinese dance forms were revised and propagated. In 1943, the Chinese Communist Party launched the new yangge movement where the yangge dance was adopted as a means of rallying village support. The new dance is a simplified version of the old dance with socialist elements such as the leader of the dance holding a sickle instead of umbrella, and it is also known as "struggle yangge" or "reform yangge".^[39]^[40]

References

^ ^a ^b ^c ^d ^e ^f "The ritual and music system – HistoryTopic". 4 June 2022. Retrieved 2022-09-25.
^ ^a ^b ^c "常识必背 | 什么是礼乐制度？_音乐_身份_阶级". www.sohu.com. Retrieved 2022-07-20.
^ ^a ^b 許之衡 (1968). 中國音樂小史. 臺灣商務印書館. ISBN 978-957-05-1273-1. Note some of alternate names given for these dances, such as Xianchi (咸池), Dashao (大韶), and Dazhang (大章)
^ ^a ^b Wang Kefen (1985). The History of Chinese Dance. China Books & Periodicals. pp. 12–13. ISBN 978-0-8351-1186-7.
^ ^a ^b Zehou Li (2009). The Chinese Aesthetic Tradition. translated by Maija Bell Samei. University of Hawaii Press. p. 5. ISBN 978-0-8248-3307-7.
^ ^a ^b ^c Zehou Li (2009). The Chinese Aesthetic Tradition. translated by Maija Bell Samei. University of Hawaii Press. p. 5. ISBN 978-0-8248-3307-7.
^ ^a ^b 方士华; 李天云 (2014). 中国文化史速读. 青苹果数据中心.
^ https://inf.news/en/culture/13f6bcc9ddf4e8248ad8525c0a36b55f.html ^{[bare URL]}
^ ^a ^b China: Five Thousand Years of History and Civilization. City University of Hong Kong Press. 2007. p. 454. ISBN 978-962-937-140-1.
^ ^a ^b ^c ^d ^e Don Michael Randel, ed. (2003). The Harvard Dictionary of Music (4th ed.). Harvard University Press. pp. 260–262. ISBN 978-0-674-01163-2.
^ Jin Jie (3 March 2011). Chinese Music. Cambridge University Press. p. 4. ISBN 978-0-521-18691-9.
^ "Basin with design of dancers: Neolithic, Majiayao Culture". National Museum of China. Archived from the original on December 26, 2019. Pottery from the Majiayao culture (3100–2700 BCE)
^ Wang Kefen (1985). The History of Chinese Dance. China Books & Periodicals. p. 7. ISBN 978-0-8351-1186-7.
^ Lü Shi Chun Qiu Original text: 昔葛天氏之樂，三人操牛尾，投足以歌八闋
^ Yu Huan Zhang, Ken Rose (2001). A Brief History of Qi. Paradigm Pubns. ISBN 978-0-912111-63-6.
^ Confucius. (2011). The Analects. Distributed by Paw Prints/Baker & Taylor. ISBN 978-1-4487-8842-2. OCLC 711040761.
^ Fan Pen Li Che (2007). Chinese Shadow Theatre: History, Popular Religion, and Women Warriors. McGill-Queen's University Press. p. 64. ISBN 978-0-7735-3197-0.
^ Shang Shu - Yu Shu - Yi and Ji. Chinese Text Project.
^ Wang Kefen (1985). The History of Chinese Dance. China Books & Periodicals. p. 8. ISBN 978-0-8351-1186-7.
^ Faye Chunfang Fei, ed. (2002). Chinese Theories of Theater and Performance from Confucius to the Present. University of Michigan Press. pp. 7–9. ISBN 978-0-472-08923-9.
^ 許之衡 (1968). 中國音樂小史. 臺灣商務印書館. p. 15. ISBN 978-957-05-1273-1.
^ "杨富荣：孔子的礼乐教化思想". www.chinakongzi.org. Retrieved 2022-07-12.
^ Bresler, Liora (2007). International Handbook of Research in Arts Education. Springer. p. 85. ISBN 978-1-4020-2998-1.
^ Dorothy Ko; JaHyun Kim Haboush; Joan R. Piggott, eds. (2003). Women and Confucian Cultures in Premodern China, Korea, and Japan. University of California Press. p. 85. ISBN 978-0-520-23138-2.
^ Faye Chunfang Fei, ed. (2002). Chinese Theories of Theater and Performance from Confucius to the Present. University of Michigan Press. pp. 10–13. ISBN 978-0-472-08923-9.
^ Kirkendall, Jensen Armstrong (2017-12-14). "The Well-Ordered Heart: Confucius on Harmony, Music, and Ritual" (PDF). Archived (PDF) from the original on 2021-04-13. Retrieved 2021-04-13.
^ Davis, Albert Richard, ed. (1970), The Penguin Book of Chinese Verse, Baltimore: Penguin Books
^ ^a ^b "Confucius, The Analects - 17". 1901-12-13. Archived from the original on 2021-04-13. Retrieved 2021-04-13.
^ A History of Sino-Indian Relations: 1st Century A.D. to 7th Century A.D. by Yukteshwar Kumar. p.76 ISBN 978-81-7648-798-6
^ Journal of Music in China, Volume 4, p.4
^ ^a ^b Chi Fengzhi (2005-06-28). "Change and Continuity of Chinese Yayue in Korea".
^ Don Michael Randel, ed. (2003). The Harvard Dictionary of Music (4th ed.). Harvard University Press. pp. 261–262. ISBN 978-0-674-01163-2.
^ Keith Howard (2012). Music As Intangible Cultural Heritage: Policy Ideology and Practice in the Preservation of East Asian Traditions. Ashgate. ISBN 978-1-4094-3907-3.
^ Keith Howard (2012). Music As Intangible Cultural Heritage: Policy Ideology and Practice in the Preservation of East Asian Traditions. Ashgate. ISBN 978-1-4094-3907-3.
^ Frederick Lau (2007). Music in China. Oxford University Press. pp. 118–121. ISBN 978-0-19-530124-3.
^ ^a ^b Cindy Sui (September 1, 2011). "The Melodies of the Emperors". Taiwan Today.
^ Keith Howard, ed. (2007). Music and Ritual. Semar Publishers. p. 131. ISBN 978-88-7778-086-7.
^ Bonnie S. McDougall, ed. (1984). Popular Chinese Literature and Performing Arts in the People's Republic of China 1949–1979. University of California Press. pp. 8–14. ISBN 978-0-520-04852-2.
^ Chang-tai, Hung (2005). "The Dance of Revolution: Yangge in Beijing in the Early 1950s". The China Quarterly. 181 (181): 82–99. doi:10.1017/S0305741005000056. JSTOR 20192445. S2CID 42166289.
^ Richard Gunde (2001). Culture and Customs of China. Greenwood. p. 107. ISBN 978-0-313-36118-0.

External links

《欽定古今圖書集成·經濟彙編·禮儀典·禮樂總部》, from the Complete Classics Collection of Ancient China

[mw-2022a-1] ^ ^a ^b ^c ^d ^e ^f "The ritual and music system – HistoryTopic". 4 June 2022. Retrieved 2022-09-25.

[wwwsohucom-2022a-2] "常识必背 | 什么是礼乐制度？_音乐_身份_阶级". www.sohu.com. Retrieved 2022-07-20.

[許之衡-1968b-3] 許之衡 (1968). 中國音樂小史. 臺灣商務印書館. ISBN 978-957-05-1273-1. Note some of alternate names given for these dances, such as Xianchi (咸池), Dashao (大韶), and Dazhang (大章)

[wang-kefen-1985a-4] Wang Kefen (1985). The History of Chinese Dance. China Books & Periodicals. pp. 12–13. ISBN 978-0-8351-1186-7.

[zehou-li-2009a-5] Zehou Li (2009). The Chinese Aesthetic Tradition. translated by Maija Bell Samei. University of Hawaii Press. p. 5. ISBN 978-0-8248-3307-7.

[aesthetic_tradition-6] Zehou Li (2009). The Chinese Aesthetic Tradition. translated by Maija Bell Samei. University of Hawaii Press. p. 5. ISBN 978-0-8248-3307-7.

[李天云-2014a-7] 方士华; 李天云 (2014). 中国文化史速读. 青苹果数据中心.

[8] ttps://inf.news/en/culture/13f6bcc9ddf4e8248ad8525c0a36b55f.html ^{[bare URL]}

[city-university-of-hong-kong-press-2007a-9] China: Five Thousand Years of History and Civilization. City University of Hong Kong Press. 2007. p. 454. ISBN 978-962-937-140-1.

[harvard-10] Don Michael Randel, ed. (2003). The Harvard Dictionary of Music (4th ed.). Harvard University Press. pp. 260–262. ISBN 978-0-674-01163-2.

[11] Jin Jie (3 March 2011). Chinese Music. Cambridge University Press. p. 4. ISBN 978-0-521-18691-9.

[12] "Basin with design of dancers: Neolithic, Majiayao Culture". National Museum of China. Archived from the original on December 26, 2019. Pottery from the Majiayao culture (3100–2700 BCE)

[13] Wang Kefen (1985). The History of Chinese Dance. China Books & Periodicals. p. 7. ISBN 978-0-8351-1186-7.

[14] Lü Shi Chun Qiu Original text: 昔葛天氏之樂，三人操牛尾，投足以歌八闋

[15] Yu Huan Zhang, Ken Rose (2001). A Brief History of Qi. Paradigm Pubns. ISBN 978-0-912111-63-6.

[16] Confucius. (2011). The Analects. Distributed by Paw Prints/Baker & Taylor. ISBN 978-1-4487-8842-2. OCLC 711040761.

[17] Fan Pen Li Che (2007). Chinese Shadow Theatre: History, Popular Religion, and Women Warriors. McGill-Queen's University Press. p. 64. ISBN 978-0-7735-3197-0.

[18] Shang Shu - Yu Shu - Yi and Ji. Chinese Text Project.

[kefen2-19] Wang Kefen (1985). The History of Chinese Dance. China Books & Periodicals. p. 8. ISBN 978-0-8351-1186-7.

[20] Faye Chunfang Fei, ed. (2002). Chinese Theories of Theater and Performance from Confucius to the Present. University of Michigan Press. pp. 7–9. ISBN 978-0-472-08923-9.

[21] 許之衡 (1968). 中國音樂小史. 臺灣商務印書館. p. 15. ISBN 978-957-05-1273-1.

[22] "杨富荣：孔子的礼乐教化思想". www.chinakongzi.org. Retrieved 2022-07-12.

[23] Bresler, Liora (2007). International Handbook of Research in Arts Education. Springer. p. 85. ISBN 978-1-4020-2998-1.

[24] Dorothy Ko; JaHyun Kim Haboush; Joan R. Piggott, eds. (2003). Women and Confucian Cultures in Premodern China, Korea, and Japan. University of California Press. p. 85. ISBN 978-0-520-23138-2.

[25] Faye Chunfang Fei, ed. (2002). Chinese Theories of Theater and Performance from Confucius to the Present. University of Michigan Press. pp. 10–13. ISBN 978-0-472-08923-9.

[26] Kirkendall, Jensen Armstrong (2017-12-14). "The Well-Ordered Heart: Confucius on Harmony, Music, and Ritual" (PDF). Archived (PDF) from the original on 2021-04-13. Retrieved 2021-04-13.

[27] Davis, Albert Richard, ed. (1970), The Penguin Book of Chinese Verse, Baltimore: Penguin Books

[Confucius,_The_Analects_-_17-28] "Confucius, The Analects - 17". 1901-12-13. Archived from the original on 2021-04-13. Retrieved 2021-04-13.

[Sino-Indian_Relations_p.76-29] A History of Sino-Indian Relations: 1st Century A.D. to 7th Century A.D. by Yukteshwar Kumar. p.76 ISBN 978-81-7648-798-6

[30] Journal of Music in China, Volume 4, p.4

[musicology-31] Chi Fengzhi (2005-06-28). "Change and Continuity of Chinese Yayue in Korea".

[harvard2-32] Don Michael Randel, ed. (2003). The Harvard Dictionary of Music (4th ed.). Harvard University Press. pp. 261–262. ISBN 978-0-674-01163-2.

[howard-33] Keith Howard (2012). Music As Intangible Cultural Heritage: Policy Ideology and Practice in the Preservation of East Asian Traditions. Ashgate. ISBN 978-1-4094-3907-3.

[34] Keith Howard (2012). Music As Intangible Cultural Heritage: Policy Ideology and Practice in the Preservation of East Asian Traditions. Ashgate. ISBN 978-1-4094-3907-3.

[frederick_lau-35] Frederick Lau (2007). Music in China. Oxford University Press. pp. 118–121. ISBN 978-0-19-530124-3.

[sui-36] Cindy Sui (September 1, 2011). "The Melodies of the Emperors". Taiwan Today.

[37] Keith Howard, ed. (2007). Music and Ritual. Semar Publishers. p. 131. ISBN 978-88-7778-086-7.

[38] Bonnie S. McDougall, ed. (1984). Popular Chinese Literature and Performing Arts in the People's Republic of China 1949–1979. University of California Press. pp. 8–14. ISBN 978-0-520-04852-2.

[39] Chang-tai, Hung (2005). "The Dance of Revolution: Yangge in Beijing in the Early 1950s". The China Quarterly. 181 (181): 82–99. doi:10.1017/S0305741005000056. JSTOR 20192445. S2CID 42166289.

[40] Richard Gunde (2001). Culture and Customs of China. Greenwood. p. 107. ISBN 978-0-313-36118-0.

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@@ Line 1: / Line 1: @@
 {{Short description|Ancient Chinese social system}}
 {{about|Chinese social system based around dance|the dance itself|Yayue}}
-<noinclude>{{User:RMCD bot/subject notice|1=Ritual and Music System|2=Talk:Ritual Music System#Requested move 22 September 2022}}
-</noinclude>
-The '''Ritual Music System''' ({{lang-zh|礼乐制度}}) is a social system that originated in the [[Western Zhou|Western Zhou Dynasty]]. Together with the [[Patriarchal system (Western Zhou)|patriarchal system]], it constituted the social system of the entire ancient China and had a great influence on the politics, culture, art and thought of later generations.<ref name=":0">{{Cite web |title=常识必背 {{!}} 什么是礼乐制度？_音乐_身份_阶级 |url=https://www.sohu.com/a/www.sohu.com/a/526665584_121123529 |access-date=2022-07-20 |website=www.sohu.com |language=en}}</ref> According to legend it was founded by the [[Duke of Zhou]] and [[King Wu of Zhou]].<ref name=":1" /><ref name=":2" /><ref name=":3" /><ref name="aesthetic tradition" /><ref name=":4" /><ref name=":5" /><ref>https://inf.news/en/culture/13f6bcc9ddf4e8248ad8525c0a36b55f.html</ref>
+[[File:湖北博物館曾侯乙編鐘.jpg|thumb|A set of bronze bells called [[bianzhong]] {{circa}} 5th century BC from [[Hubei]]]]
-The Ritual Music System is divided into two parts: ritual and music. The part of ritual mainly divides people's identity and social norms, and finally forms a hierarchy. The music part is mainly based on the hierarchical system of etiquette, using music to alleviate social conflicts.<ref name=":0" />
+The Chinese '''ritual and music system''' ({{zh|hp=Lǐ yuè zhìdù|s=礼乐制度}}) is a social system that originated in the [[Western Zhou|Zhou dynasty]] to maintain the social order.<ref name="mw-2022a">{{Cite web |title=The ritual and music system – HistoryTopic |date=4 June 2022 |url=https://historytopic.com/373.html |access-date=2022-09-25 |language=en-US}}</ref> Together with the [[Patriarchal system (Western Zhou)|patriarchal system]], it constituted the social system of the entire ancient China and had a great influence on the politics, culture, art and thought of later generations.<ref name="wwwsohucom-2022a">{{Cite web |title=常识必背 {{!}} 什么是礼乐制度？_音乐_身份_阶级 |url=https://www.sohu.com/a/526665584_121123529 |access-date=2022-07-20 |website=www.sohu.com |language=en}}</ref>{{Better source needed|date=October 2022}} The [[Fengjian|feudal system]] and the [[Well-field system]] were two other institutions that developed at that time.<ref name="mw-2022a" /> According to legend it was founded by the [[Duke of Zhou]] and [[King Wu of Zhou]].<ref name="許之衡-1968b"/><ref name="wang-kefen-1985a" /><ref name="zehou-li-2009a" /><ref name="aesthetic tradition" /><ref name="李天云-2014a" /><ref>https://inf.news/en/culture/13f6bcc9ddf4e8248ad8525c0a36b55f.html {{Bare URL inline|date=August 2024}}</ref>
+The Ritual Music System is divided into two parts: ritual and music. The part of ritual mainly divides people's identity and social norms, and finally forms a hierarchy. The music part is mainly based on the hierarchical system of etiquette, using music to alleviate social conflicts.<ref name="wwwsohucom-2022a" />
-The system developed from older shamanic traditions<ref name=":8" /> and was seen as having cosmological significance,<ref name="harvard" /> it was seen as representing the balance between [[Yin and yang|Yin and Yang]]<ref name="harvard" /> and the [[Wuxing (Chinese philosophy)|Five Elements]].<ref name="harvard" />
+The system developed from older shamanic traditions<ref name="city-university-of-hong-kong-press-2007a" /> and was seen as having cosmological significance,<ref name="harvard" /> it was seen as representing the balance between [[Yin and yang|Yin and Yang]]<ref name="harvard" /> and the [[Wuxing (Chinese philosophy)|Five Elements]].<ref name="harvard" />
-The regulations on ritual and music strengthened people's concept of hierarchy, played a symbolic role in establishing authority, alongside standardizing rule across the civilization.<ref name=":0" />
+The regulations on ritual and music strengthened people's concept of hierarchy, played a symbolic role in establishing authority, alongside standardizing rule across the civilization.<ref name="wwwsohucom-2022a" />
 == Predecessors ==
@@ Line 15: / Line 15: @@
 [[File:Bone Flute.jpg|thumb|left|A 9,000 year-old [[Gudi (instrument)|bone flute]] from [[Henan]]]]
-Archaeological evidence indicates that music culture developed in China from a very early period. Excavations in Jiahu Village in [[Wuyang County]], [[Henan]] found [[Gudi (instrument)|bone flutes]] dated to 9,000 years ago, and clay music instruments called [[Xun (instrument)|Xun]] thought to be 7,000 years old have been found in the [[Hemudu culture|Hemudu sites]] in [[Zhejiang]] and [[Banpo]] in [[Xi'an]].<ref>{{cite book |url=https://books.google.com/books?id=9MI6JHKw9BQC&pg=PA4 |title=Chinese Music |author=Jin Jie |page=4 |publisher= Cambridge University Press|date=3 March 2011|isbn= 978-0521186919}}</ref>
+Archaeological evidence indicates that music culture developed in China from a very early period. Excavations in Jiahu Village in [[Wuyang County]], [[Henan]] found [[Gudi (instrument)|bone flutes]] dated to 9,000 years ago, and clay music instruments called [[Xun (instrument)|Xun]] thought to be 7,000 years old have been found in the [[Hemudu culture|Hemudu sites]] in [[Zhejiang]] and [[Banpo]] in [[Xi'an]].<ref>{{cite book |url=https://books.google.com/books?id=9MI6JHKw9BQC&pg=PA4 |title=Chinese Music |author=Jin Jie |page=4 |publisher= Cambridge University Press|date=3 March 2011|isbn= 978-0-521-18691-9}}</ref>
-[[File:舞蹈纹彩陶盆08775.jpg|thumb|left|Bowl from the [[Majiayao culture]] ({{circa}}3300 - 2000 BC) decorated with figures of men dancing in line]]
+[[File:舞蹈纹彩陶盆08775.jpg|thumb|left|Bowl from the [[Majiayao culture]] ({{circa}}3300 – 2000 BC) decorated with figures of men dancing in line]]
-Pictorial representations of dance have been found in Chinese pottery as early as the [[Neolithic]] period (before 2000 BCE), showing people dancing in a line holding hands.<ref>{{cite web |url=http://en.chnmuseum.cn/tabid/549/Default.aspx?AntiqueLanguageID=3002 |title= Basin with design of dancers: Neolithic, Majiayao Culture|work= National Museum of China }} Pottery from the [[Majiayao culture]] (3100–2700 BCE)</ref> The earliest Chinese character for "dance", [[File:舞-oracle.svg|20px]], appears in the [[oracle bones]] and represents a dancer holding oxtails in each hand.<ref>{{cite book |title=The History of Chinese Dance |author= Wang Kefen|publisher= China Books & Periodicals |page=7 |year= 1985 |isbn=978-0835111867}}</ref> According to the ''[[Lüshi Chunqiu]]'' (compiled around 239 BCE): "In former times, the people of the Getian clan (葛天氏) would dance in pairs [or threes] with oxtails in hand, stamping their feet and singing eight stanzas."<ref name="aesthetic tradition">{{cite book |url= https://books.google.com/books?id=d1eZuB2xwYwC&pg=PA5 |title=The Chinese Aesthetic Tradition |author= Zehou Li |page=5 |publisher= University of Hawaii Press |others=translated by Maija Bell Samei |year= 2009 |isbn=978-0824833077 }}</ref><ref>[http://ctext.org/dictionary.pl?if=en&id=23281  Lü Shi Chun Qiu] Original text: 昔葛天氏之樂，三人操牛尾，投足以歌八闋</ref>
+Pictorial representations of dance have been found in Chinese pottery as early as the [[Neolithic]] period (before 2000&nbsp;BC), showing people dancing in a line holding hands.<ref>{{cite web |title=Basin with design of dancers: Neolithic, Majiayao Culture |url=http://en.chnmuseum.cn/tabid/549/Default.aspx?AntiqueLanguageID=3002 |archive-url=https://web.archive.org/web/20191226034538/http://en.chnmuseum.cn/Default.aspx?TabId=549&AntiqueLanguageID=3002&AspxAutoDetectCookieSupport=1 |archive-date=December 26, 2019 |work=National Museum of China}} Pottery from the [[Majiayao culture]] (3100–2700 BCE)</ref> The earliest Chinese character for "dance", [[File:舞-oracle.svg|20px]], appears in the [[oracle bones]] and represents a dancer holding oxtails in each hand.<ref>{{cite book |title=The History of Chinese Dance |author= Wang Kefen|publisher= China Books & Periodicals |page=7 |year= 1985 |isbn=978-0-8351-1186-7}}</ref> According to the ''[[Lüshi Chunqiu]]'' (compiled around 239&nbsp;BC): "In former times, the people of the Getian clan (葛天氏) would dance in pairs [or threes] with oxtails in hand, stamping their feet and singing eight stanzas."<ref name="aesthetic tradition">{{cite book |url= https://books.google.com/books?id=d1eZuB2xwYwC&pg=PA5 |title=The Chinese Aesthetic Tradition |author= Zehou Li |page=5 |publisher= University of Hawaii Press |others=translated by Maija Bell Samei |year= 2009 |isbn=978-0-8248-3307-7 }}</ref><ref>[http://ctext.org/dictionary.pl?if=en&id=23281  Lü Shi Chun Qiu] Original text: 昔葛天氏之樂，三人操牛尾，投足以歌八闋</ref>
+Primitive dance in ancient China was also associated with sorcery and shamanic ritual. An early shape of the Chinese character for sorcerer, ''[[Wu (shaman)|wu]]'' (巫), represented dancing shamans or their sleeves;<ref>{{cite book |url= https://books.google.com/books?id=701u-PHNAuMC&pg=PT144 |title=A Brief History of Qi |author= Yu Huan Zhang, Ken Rose |publisher= Paradigm Pubns |year= 2001 |isbn=978-0-912111-63-6 }}</ref> ''wu'' therefore described someone who danced as a mean of communication between gods and men.<ref name="city-university-of-hong-kong-press-2007a">{{cite book |url=https://books.google.com/books?id=z-fAxn_9f8wC&pg=PA454 |title= China: Five Thousand Years of History and Civilization |page=454 |publisher=City University of Hong Kong Press |year= 2007 |isbn= 978-962-937-140-1 }}</ref> There are many ancient records of shamans and sorcerers who danced, for example performing the rain dance at time of drought. The rain dance (舞雩, wǔyú) platform is mentioned in many ancient texts including the ''[[Analects]]'' of [[Confucius]].<ref>{{Cite book |last=Confucius. |title=The Analects |date=2011 |publisher=Distributed by Paw Prints/Baker & Taylor |isbn=978-1-4487-8842-2 |oclc=711040761}}</ref><!-- Page number needed -->
-Primitive dance in ancient China was also associated with sorcery and shamanic ritual. An early shape of the Chinese character for sorcerer, ''[[Wu (shaman)|wu]]'' (巫), represented dancing shamans or their sleeves;<ref>{{cite book |url= https://books.google.com/books?id=701u-PHNAuMC&pg=PT144 |title=A Brief History of Qi |author= Yu Huan Zhang, Ken Rose |publisher= Paradigm Pubns |year= 2001 |isbn=978-0912111636 }}</ref> ''wu'' therefore described someone who danced as a mean of communication between gods and men.<ref name=":8">{{cite book |url=https://books.google.com/books?id=z-fAxn_9f8wC&pg=PA454 |title= China: Five Thousand Years of History and Civilization |page=454 |publisher=City University of Hong Kong Press |year= 2007 |isbn= 978-9629371401 }}</ref> There are many ancient records of shamans and sorcerers who danced, for example performing the rain dance at time of drought. The rain dance (舞雩, wǔyú) platform is mentioned in many ancient texts including the ''[[Analects]]'' of [[Confucius]].<ref>{{Cite book |last=Confucius. |url=http://worldcat.org/oclc/711040761 |title=The Analects |date=2011 |publisher=Distributed by Paw Prints/Baker & Taylor |isbn=978-1-4487-8842-2 |oclc=711040761}}</ref><!-- Page number needed -->
 == Zhou Institution ==
 {{Main|Yayue}}
 {{more information|History of Chinese dance}}
-According to tradition, ''[[yayue]]'' was created by the [[Duke of Zhou]] under commission from [[King Wu of Zhou]], shortly after the latter's conquest of [[Shang dynasty|Shang]]. Incorporated within ''yayue'' were elements of [[Shaman|shamanistic]] or religious traditions, as well as early Chinese [[folk music]], which formed the backbone of the Ritual Music System. [[Dance in China|Dance]] was also closely associated with ''yayue'' music, each ''yayue'' pieces may have a ceremonial or ritual dance associated with it.  The most important ''yayue'' piece of the Zhou dynasty were the Six Great Dances, each associated with a legendary or historical figure.<ref name=":1">{{cite book |author=許之衡 |url=https://books.google.com/books?id=P3PehWwi6UAC&pg=PA5 |title=中國音樂小史 |year=1968 |isbn=9789570512731}} Note some of alternate names given for these dances, such as Xianchi (咸池), Dashao (大韶), and Dazhang (大章)</ref><ref name=":2">{{cite book |author=Wang Kefen |title=The History of Chinese Dance |publisher=China Books & Periodicals |year=1985 |isbn=978-0835111867 |pages=12–13}}</ref><ref name=":3">{{cite book |author=Zehou Li |url=https://books.google.com/books?id=d1eZuB2xwYwC&pg=PA5 |title=The Chinese Aesthetic Tradition |publisher=University of Hawaii Press |others=translated by Maija Bell Samei |year=2009 |isbn=978-0824833077 |page=5}}</ref><ref name="aesthetic tradition" /><ref name=":4">{{cite book |author=許之衡 |url=https://books.google.com/books?id=P3PehWwi6UAC&pg=PA5 |title=中國音樂小史 |year=1968 |isbn=9789570512731}} Note some of alternate names given for these dances, such as Xianchi (咸池), Dashao (大韶), and Dazhang (大章)</ref><ref name=":5">{{cite book |url=https://books.google.com/books?id=VXEZAwAAQBAJ&pg=PT217 |title=中国文化史速读 |publisher=青苹果数据中心 |year=2014 |authors=方士华 李天云}}</ref>
+According to tradition, ''[[yayue]]'' was created by the [[Duke of Zhou]] under commission from [[King Wu of Zhou]], shortly after the latter's conquest of [[Shang dynasty|Shang]]. Incorporated within ''yayue'' were elements of [[Shaman|shamanistic]] or religious traditions, as well as early Chinese [[folk music]], which formed the backbone of the Ritual Music System. [[Dance in China|Dance]] was also closely associated with ''yayue'' music, each ''yayue'' pieces may have a ceremonial or ritual dance associated with it.  The most important ''yayue'' piece of the Zhou dynasty were the Six Great Dances, each associated with a legendary or historical figure.<ref name="許之衡-1968b">{{cite book |author=許之衡 |url=https://books.google.com/books?id=P3PehWwi6UAC&pg=PA5 |title=中國音樂小史 |year=1968 | publisher=臺灣商務印書館 |isbn=978-957-05-1273-1}} Note some of alternate names given for these dances, such as Xianchi (咸池), Dashao (大韶), and Dazhang (大章)</ref><ref name="wang-kefen-1985a">{{cite book |author=Wang Kefen |title=The History of Chinese Dance |publisher=China Books & Periodicals |year=1985 |isbn=978-0-8351-1186-7 |pages=12–13}}</ref><ref name="zehou-li-2009a">{{cite book |author=Zehou Li |url=https://books.google.com/books?id=d1eZuB2xwYwC&pg=PA5 |title=The Chinese Aesthetic Tradition |publisher=University of Hawaii Press |others=translated by Maija Bell Samei |year=2009 |isbn=978-0-8248-3307-7 |page=5}}</ref><ref name="aesthetic tradition" /><ref name="李天云-2014a">{{cite book |url=https://books.google.com/books?id=VXEZAwAAQBAJ&pg=PT217 |script-title=zh:中国文化史速读 |publisher=青苹果数据中心 |year=2014 |author=方士华 |author2=李天云}}</ref>
 *''Yunmen Dajuan'' (雲門大卷), from the [[Yellow Emperor]] era, performed for the veneration of the sky.
 *''Daxian'' ([[:zh:大咸|大咸]], or ''Dazhang'' 大章), from the [[Emperor Yao]] era, for the veneration of the earth.
-*''Daqing'' (大磬, or ''Dashao'' [[:zh:大韶|大韶]]), from the [[Emperor Shun]] era, for the veneration of Gods of the Four Directions, or the sun, moon, stars and seas, the dancers may have dressed up as birds and beasts. One of the earliest documents, ''[[Shujing]]'', mentioned the ritual of "beating on the stones as all the wild animals dance".<ref name=":6">{{cite book |author=Fan Pen Li Che |url=https://books.google.com/books?id=aZu9Cje8TfkC&pg=PA64 |title=Chinese Shadow Theatre: History, Popular Religion, and Women Warriors |publisher=McGill-Queen's University Press |year=2007 |isbn=978-0773531970 |page=64}}</ref><ref name=":7">{{cite book |url=http://ctext.org/shang-shu/yi-and-ji#n21105 |title=Shang Shu - Yu Shu - Yi and Ji |work=Chinese Text Project}}</ref>  The performance of the dance was highly regarded by Confucius.
+*''Daqing'' (大磬, or ''Dashao'' [[:zh:大韶|大韶]]), from the [[Emperor Shun]] era, for the veneration of Gods of the Four Directions, or the sun, moon, stars and seas, the dancers may have dressed up as birds and beasts. One of the earliest documents, ''[[Shujing]]'', mentioned the ritual of "beating on the stones as all the wild animals dance".<ref>{{cite book |author=Fan Pen Li Che |url=https://books.google.com/books?id=aZu9Cje8TfkC&pg=PA64 |title=Chinese Shadow Theatre: History, Popular Religion, and Women Warriors |publisher=McGill-Queen's University Press |year=2007 |isbn=978-0-7735-3197-0 |page=64}}</ref><ref>{{cite book |url=http://ctext.org/shang-shu/yi-and-ji#n21105 |title=Shang Shu - Yu Shu - Yi and Ji |publisher=Chinese Text Project}}</ref>  The performance of the dance was highly regarded by Confucius.
-*''Daxia'' ([[:zh:大夏 (舞蹈)|大夏]]), was a dance performed in praise of [[Yu the Great]] of the [[Xia dynasty]], famous for his work on flood control. In this dance, 64 performers danced bare-chested wearing fur caps and white skirts. The movements of the dance may imitate the manual labour performed during flood control.<ref name="kefen2">{{cite book |author=Wang Kefen |title=The History of Chinese Dance |publisher=China Books & Periodicals |year=1985 |isbn=978-0835111867 |page=8}}</ref>
+*''Daxia'' ([[:zh:大夏 (舞蹈)|大夏]]), was a dance performed in praise of [[Yu the Great]] of the [[Xia dynasty]], famous for his work on flood control. In this dance, 64 performers danced bare-chested wearing fur caps and white skirts. The movements of the dance may imitate the manual labour performed during flood control.<ref name="kefen2">{{cite book |author=Wang Kefen |title=The History of Chinese Dance |publisher=China Books & Periodicals |year=1985 |isbn=978-0-8351-1186-7 |page=8}}</ref>
-*''Dahu'' (大濩), from [[Tang of Shang]] dating to the end of the [[Xia Dynasty]], for the veneration of female ancestors.
+*''Dahu'' (大濩), from [[Tang of Shang]] dating to the end of the [[Xia dynasty]], for the veneration of female ancestors.
 *''Dawu'' ([[:zh:大武 (樂舞)|大武]]), in praise of [[King Wu of Zhou]], used for ancestral worship. It was military focused in addition
+Music in the Zhou dynasty was conceived as a cosmological manifestation of the sound of nature integrated into the binary universal order of [[yin and yang]], and this concept has enduring influence later Chinese thinking on music.<ref name="harvard">{{cite book |url=https://books.google.com/books?id=02rFSecPhEsC&pg=PA260 |title=The Harvard Dictionary of Music |editor= Don Michael Randel |pages=260–262 |publisher=Harvard University Press |edition=4th |year= 2003 |isbn=978-0-674-01163-2 }}</ref>  "Correct" music according to Zhou concept would involve instruments correlating to the five elements of nature and would bring harmony to nature.  Around or before the 7th century BC, a system of pitch generation and [[pentatonic scale]] was derived from a cycle-of-fifths theory.<ref name="harvard"/>
-[[File:湖北博物館曾侯乙編鐘.jpg|thumb|A set of bronze bells called [[bianzhong]] {{circa}} 5th century B.C. from [[Hubei]]]]
-Music in the Zhou Dynasty was conceived as a cosmological manifestation of the sound of nature integrated into the binary universal order of [[yin and yang]], and this concept has enduring influence later Chinese thinking on music.<ref name="harvard">{{cite book |url=https://books.google.com/books?id=02rFSecPhEsC&pg=PA260 |title=The Harvard Dictionary of Music |editor= Don Michael Randel |pages=260–262 |publisher=Harvard University Press |edition=4th |year= 2003 |isbn=978-0674011632 }}</ref>  "Correct" music according to Zhou concept would involve instruments correlating to the five elements of nature and would bring harmony to nature.  Around or before the 7th century BC, a system of pitch generation and [[pentatonic scale]] was derived from a cycle-of-fifths theory.<ref name="harvard"/>
 The ''[[Book of Rites]]'' records a number of situations where ''yayue'' might be performed. These included [[Ceremony|ceremonies]] in honour of Heaven and Earth, the gods or the ancestors. There were also detailed rules on the way they were to be performed at [[Diplomacy|diplomatic]] meetings. ''Yayue'' was also used in outdoor activities, such as aristocratic [[archery]] contests, during [[hunting]] expeditions, and after the conclusion of a successful military campaign. ''Yayue'' was characterised by its rigidity of form. When performed, it was stately and formal, serving to distinguish the aristocratic classes. It was sometimes also accompanied by [[lyrics]]. Some of these are preserved in the ''[[Shi Jing|Book of Songs]]''.
-== Spring and Autumn Period reactions ==
+== Spring and Autumn period reactions ==
-With the decline of the importance ceremony in the interstate relations of the [[Spring and Autumn period]], so did ''yayue''.  [[Confucius]] famously lamented the decline of classical music and the rites. [[Marquess Wen of Wei]] was said to prefer the popular music of [[Wey (state)|Wey]] and [[Zheng (state)|Zheng]] to the ancient court music, listening to which he may fall asleep.<ref>{{cite book |url=https://books.google.com/books?id=CiQegTh99-wC&pg=PA7 |title=Chinese Theories of Theater and Performance from Confucius to the Present |publisher=University of Michigan Press |year=2002 |isbn=978-0472089239 |editor=Faye Chunfang Fei |pages=7–9}}</ref><ref>{{cite book |author=許之衡 |url=https://books.google.com/books?id=P3PehWwi6UAC&pg=PA15 |title=中國音樂小史 |year=1968 |isbn=9789570512731 |page=15}}</ref> [[Confucius]], faced with the social chaos of the Spring and Autumn period, strongly advocated the restoration of the Ritual Music System of the Western Zhou, and advocated "restoring rituals to oneself". [[Social issue|social problems]] and realize a harmonious society in which the world is "righteous".<ref>{{Cite web |title=杨富荣：孔子的礼乐教化思想 |url=http://www.chinakongzi.org/xsyj/xmcg/201912/t20191227_204752.htm |access-date=2022-07-12 |website=www.chinakongzi.org}}</ref>
+With the decline of the importance ceremony in the interstate relations of the [[Spring and Autumn period]], so did ''yayue''.  [[Confucius]] famously lamented the decline of classical music and the rites. [[Marquess Wen of Wei]] was said to prefer the popular music of [[Wey (state)|Wey]] and [[Zheng (state)|Zheng]] to the ancient court music, listening to which he may fall asleep.<ref>{{cite book |url=https://books.google.com/books?id=CiQegTh99-wC&pg=PA7 |title=Chinese Theories of Theater and Performance from Confucius to the Present |publisher=University of Michigan Press |year=2002 |isbn=978-0-472-08923-9 |editor=Faye Chunfang Fei |pages=7–9}}</ref><ref>{{cite book |author=許之衡 |url=https://books.google.com/books?id=P3PehWwi6UAC&pg=PA15 |title=中國音樂小史 |year=1968 |isbn=978-957-05-1273-1 |page=15| publisher=臺灣商務印書館 }}</ref> Confucius, faced with the social chaos of the Spring and Autumn period, strongly advocated the restoration of the Ritual Music System of the Western Zhou, and advocated "restoring rituals to oneself" and to [[Social issue|social problems]], and to be able to realize a harmonious society in which the world is "righteous."<ref>{{Cite web |title=杨富荣：孔子的礼乐教化思想 |url=http://www.chinakongzi.org/xsyj/xmcg/201912/t20191227_204752.htm |access-date=2022-07-12 |website=www.chinakongzi.org}}</ref>
-Chinese philosophers took varying approaches to music. To [[Confucius]], a correct form of music is important for the cultivation and refinement of the individual, and the Confucian system considers the formal music ''[[yayue]]'' to be morally uplifting and the symbol of a good ruler and stable government.<ref>{{cite book |url=https://books.google.com/books?id=6hxGDALSoOYC&pg=PA85 |title=International Handbook of Research in Arts Education|last=Bresler |first=Liora |page=85 |publisher=Springer |year= 2007 |isbn=978-1402029981}}</ref> Some popular forms of music, however, were considered corrupting in the Confucian view.<ref>{{cite book |url=https://books.google.com/books?id=8HZGBK3ENgQC&pg=PA97|title=Women and Confucian Cultures in Premodern China, Korea, and Japan|editor1-link=Dorothy Ko|editor2-link=JaHyun Kim Haboush|editor3-link=Joan R. Piggott|editor1=Dorothy Ko |editor2=JaHyun Kim Haboush |editor3=Joan R. Piggott |page=85 |publisher=University of California Press |year= 2003 |isbn=978-0520231382}}</ref>  [[Mozi]] on the other hand condemned making music, and argued in  ''Against Music'' (非樂) that music is an extravagance and indulgence that serves no useful purpose and may be harmful.<ref>{{cite book |url=https://books.google.com/books?id=CiQegTh99-wC&pg=PA10 |title= Chinese Theories of Theater and Performance from Confucius to the Present |pages=10–13 |editor= Faye Chunfang Fei |publisher=University of Michigan Press |year=2002 |isbn= 978-0472089239 }}</ref>  According to [[Mencius]], a powerful ruler once asked him whether it was moral if he preferred popular music to the classics. The answer was that it only mattered that the ruler loved his subjects.
+Chinese philosophers took varying approaches to music. To Confucius, a correct form of music is important for the cultivation and refinement of the individual, and the Confucian system considers the formal music ''[[yayue]]'' to be morally uplifting and the symbol of a good ruler and stable government.<ref>{{cite book |url=https://books.google.com/books?id=6hxGDALSoOYC&pg=PA85 |title=International Handbook of Research in Arts Education|last=Bresler |first=Liora |page=85 |publisher=Springer |year= 2007 |isbn=978-1-4020-2998-1}}</ref> Some popular forms of music, however, were considered corrupting in the Confucian view.<ref>{{cite book |url=https://books.google.com/books?id=8HZGBK3ENgQC&pg=PA97|title=Women and Confucian Cultures in Premodern China, Korea, and Japan|editor1-link=Dorothy Ko|editor2-link=JaHyun Kim Haboush|editor3-link=Joan R. Piggott|editor1=Dorothy Ko |editor2=JaHyun Kim Haboush |editor3=Joan R. Piggott |page=85 |publisher=University of California Press |year= 2003 |isbn=978-0-520-23138-2}}</ref>  [[Mozi]] on the other hand condemned making music, and argued in  ''Against Music'' (非樂) that music is an extravagance and indulgence that serves no useful purpose and may be harmful.<ref>{{cite book |url=https://books.google.com/books?id=CiQegTh99-wC&pg=PA10 |title= Chinese Theories of Theater and Performance from Confucius to the Present |pages=10–13 |editor= Faye Chunfang Fei |publisher=University of Michigan Press |year=2002 |isbn= 978-0-472-08923-9 }}</ref>  According to [[Mencius]], a powerful ruler once asked him whether it was moral if he preferred popular music to the classics. The answer was that it only mattered that the ruler loved his subjects.
-Confucius not only advocated and advocated the restoration of the Ritual Music System, but also practiced it physically. Legend has it that he asked [[Laozi]] about rituals and became so obsessed with music that he "did not know the taste of meat for three months".{{Citation needed|date=July 2022}}
+Confucius not only advocated the restoration of the Ritual Music System, but also practiced it physically. Legend has it that he asked [[Laozi]] about rituals and became so obsessed with music that he "did not know the taste of meat for three months".{{Citation needed|date=July 2022}}
-[[File:Manuscript from Shanghai Museum 1.jpg|thumb|left|The [[Classic of Poetry|Shijing]] or Classic of Poetry]]
+[[File:Kǒngzǐ Shīlùn Manuscript from Shanghai Museum 1.jpg|thumb|left|The [[Classic of Poetry|Shijing]] or Classic of Poetry]]
-Confucius heavily promoted the use of music with rituals or the rites order. The scholar [[Li Zehou]] argued that Confucianism is based on the idea of rites. Rites serve as the starting point for each individual and that these sacred social functions allow each person's human nature to be harmonious with reality. Given this, Confucius believed that "music is the harmonization of heaven and earth; the rites is the order of heaven and earth". Thus the application of music in rites creates the order that makes it possible for society to prosper.<ref name="auto2">{{Cite web |last=Kirkendall |first=Jensen Armstrong |date=2017-12-14 |title=The Well-Ordered Heart: Confucius on Harmony, Music, and Ritual |url=https://s3.wp.wsu.edu/uploads/sites/998/2018/11/JensenKirkendall-TheWellOrderedHeart.pdf |url-status=live |archive-url=https://web.archive.org/web/20210413045728/https://s3.wp.wsu.edu/uploads/sites/998/2018/11/JensenKirkendall-TheWellOrderedHeart.pdf |archive-date=2021-04-13 |access-date=2021-04-13}}</ref>
+Confucius heavily promoted the use of music with rituals or the rites order. The scholar [[Li Zehou]] argued that Confucianism is based on the idea of rites. Rites serve as the starting point for each individual and that these sacred social functions allow each person's human nature to be harmonious with reality. Given this, Confucius believed that "music is the harmonization of heaven and earth; the rites is the order of heaven and earth". Thus the application of music in rites creates the order that makes it possible for society to prosper.<ref>{{Cite web |last=Kirkendall |first=Jensen Armstrong |date=2017-12-14 |title=The Well-Ordered Heart: Confucius on Harmony, Music, and Ritual |url=https://s3.wp.wsu.edu/uploads/sites/998/2018/11/JensenKirkendall-TheWellOrderedHeart.pdf |url-status=live |archive-url=https://web.archive.org/web/20210413045728/https://s3.wp.wsu.edu/uploads/sites/998/2018/11/JensenKirkendall-TheWellOrderedHeart.pdf |archive-date=2021-04-13 |access-date=2021-04-13}}</ref>
-The Confucian approach to music was heavily inspired by the [[Classic of Poetry|Shijing]] and the [[Classic of Music]], which was said to be the sixth Confucian classic until it was lost during the [[Han Dynasty]]. The Shijing serves as one of the current Confucian classics and is a book on poetry that contains a diversified variety of poems as well as folk songs. Confucius is traditionally ascribed with compiling these classics within his school.<ref>{{citation
+The Confucian approach to music was heavily inspired by the [[Classic of Poetry|Shijing]] and the [[Classic of Music]], which was said to be the sixth Confucian classic until it was lost during the [[Han dynasty]]. The Shijing serves as one of the current Confucian classics and is a book on poetry that contains a diversified variety of poems as well as folk songs. Confucius is traditionally ascribed with compiling these classics within his school.<ref>{{citation
   |title = The Penguin Book of Chinese Verse
   |editor-first = Albert Richard |editor-last = Davis
   |location = Baltimore |publisher = Penguin Books |year = 1970
   |postscript =
-  }}</ref> In the Analects, Confucius described the importance of the art in the development of society: <ref>{{Cite web|title=Confucius, The Analects - 17|url=https://china.usc.edu/confucius-analects-17|date=1901-12-13|access-date=2021-04-13|archive-date=2021-04-13|archive-url=https://web.archive.org/web/20210413045737/https://china.usc.edu/confucius-analects-17|url-status=live}}</ref>
+  }}</ref> In the Analects, Confucius described the importance of the art in the development of society:<ref name="Confucius, The Analects - 17">{{Cite web|title=Confucius, The Analects - 17|url=https://china.usc.edu/confucius-analects-17|date=1901-12-13|access-date=2021-04-13|archive-date=2021-04-13|archive-url=https://web.archive.org/web/20210413045737/https://china.usc.edu/confucius-analects-17|url-status=live}}</ref>
 {{poemquote|The Master said, "My children, why do you not study the Book of Poetry?
 "The Odes serve to stimulate the mind.
@@ Line 60: / Line 59: @@
 "They teach the art of sociability.
 "They show how to regulate feelings of resentment.
-"From them you learn the more immediate duty of serving one’s father, and the remoter one of serving one’s prince.
+"From them you learn the more immediate duty of serving one's father, and the remoter one of serving one's prince.
-"From them we become largely acquainted with the names of birds, beasts, and plants."<ref>{{Cite web|title=Confucius, The Analects - 17|url=https://china.usc.edu/confucius-analects-17|date=1901-12-13|access-date=2021-04-13|archive-date=2021-04-13|archive-url=https://web.archive.org/web/20210413045737/https://china.usc.edu/confucius-analects-17|url-status=live}}</ref>}}
+"From them we become largely acquainted with the names of birds, beasts, and plants."<ref name="Confucius, The Analects - 17">{{Cite web|title=Confucius, The Analects - 17|url=https://china.usc.edu/confucius-analects-17|date=1901-12-13|access-date=2021-04-13|archive-date=2021-04-13|archive-url=https://web.archive.org/web/20210413045737/https://china.usc.edu/confucius-analects-17|url-status=live}}</ref>}}
+In ancient China the social status of musicians was much lower than that of painters, though music was seen as central to the harmony and longevity of the state. Almost every emperor took folk songs seriously, sending officers to collect songs to record the popular culture. One of the Confucianist Classics, The [[Classic of Poetry]], contained many folk songs dating from 800 BC to about 400&nbsp;BC.{{Citation needed|date=July 2022}}
+== Later history ==
-In ancient China the social status of musicians was much lower than that of painters, though music was seen as central to the harmony and longevity of the state. Almost every emperor took folk songs seriously, sending officers to collect songs to record the popular culture. One of the Confucianist Classics, The [[Classic of Poetry]], contained many folk songs dating from 800 BC to about 400 BC.{{Citation needed|date=July 2022}}
+{{Main|Music Bureau}}
-== See Also ==
+<!-- from Music in China -->
+The [[Music Bureau|Imperial Music Bureau]], first established in the [[Qin dynasty]] (221–207 BC), was greatly expanded under the emperor [[Emperor Wu of Han|Han Wudi]] (140–87 BC) and charged with supervising court music and military music and determining what folk music would be officially recognized. In subsequent dynasties, the development of Chinese music was influenced by the musical traditions of Central Asia which also introduced elements of Indian music.<ref name="Sino-Indian Relations p.76">A History of Sino-Indian Relations: 1st Century A.D. to 7th Century A.D. by Yukteshwar Kumar. p.76 {{ISBN|978-81-7648-798-6}}</ref><ref>Journal of Music in China, Volume 4, p.4</ref>
+Zhou [[yayue]] was lost in the Han dynasty<ref name="musicology">{{cite web |author=Chi Fengzhi |date=2005-06-28 |title=Change and Continuity of Chinese Yayue in Korea |url=http://musicology.cn/news/news_300.html}}</ref>
+During the Han dynasty the bureau served a purpose of incorporating elements from folk music into ritual music.<ref name="mw-2022a" /> The music became increasingly secularized as it became more removed from its shamanic roots.
+In the [[Tang dynasty]] incorporation of elements from popular music occurred once again<ref name="musicology" /><ref name="mw-2022a" /><!-- paragraph taken from [[yayue]] aside from grat feast -->
+During the [[Song dynasty]], with [[Neo-Confucianism]] becoming the new orthodoxy, ''yayue'' was again in ascendancy with major development, and a ''yayue'' orchestra in this era consisted of over 200 instrumentalists.<ref name="harvard2">{{cite book |url=https://books.google.com/books?id=02rFSecPhEsC&pg=PA261 |title=The Harvard Dictionary of Music |publisher=Harvard University Press |year=2003 |isbn=978-0-674-01163-2 |editor=Don Michael Randel |edition=4th |pages=261–262}}</ref> A notable ritual was called "The Great Feast" where the emperor would drink wine.<ref name="mw-2022a" />  Two important texts from the Song dynasty describing ''yayue'' performances are [[Zhu Xi]]'s ''Complete Explanation of the Classic of Etiquette and Its Commentary'' (儀禮經傳通解) and  ''Collection of Music'' (樂書) by Chen Yang (陳暘).<ref name="howard">{{cite book |author=Keith Howard |url=https://books.google.com/books?id=JlWFbrJMy9sC&pg=PT223 |title=Music As Intangible Cultural Heritage: Policy Ideology and Practice in the Preservation of East Asian Traditions |publisher=Ashgate |year=2012 |isbn=978-1-4094-3907-3}}</ref>  In 1116, a gift of 428 ''yayue'' instruments as well as 572 costumes and dance objects was given to Korea by [[Emperor Huizong of Song|Emperor Huizong]] upon request by the Emperor [[Yejong of Goryeo]].<ref>{{cite book |author=Keith Howard |url=https://books.google.com/books?id=JlWFbrJMy9sC&pg=PT180 |title=Music As Intangible Cultural Heritage: Policy Ideology and Practice in the Preservation of East Asian Traditions |publisher=Ashgate |year=2012 |isbn=978-1-4094-3907-3}}</ref>  As a result, elements of Song dynasty ''yayue'' music such as melodies are still preserved in Korea.{{Citation needed|date=October 2022}}
+Lowering faith in government meant a decline in the system in the Song and Ming dynasties<ref name="mw-2022a" /><!-- paragraph taken from [[yayue]] -->
+Some forms of yayue survived for imperial ceremonies and rituals until the fall of the [[Qing dynasty]] when the imperial period of China came to an end.  ''Yayue'' however was still performed as part of a Confucian ritual in China until the Communist takeover in 1949 when it completely disappeared.  There has been a revival in ''yayue'' in Confucian ritual in Taiwan since the late 1960s, and in mainland China since the 1990s.<ref name="frederick lau">{{cite book |author=Frederick Lau |title=Music in China |publisher=Oxford University Press |year=2007 |isbn=978-0-19-530124-3 |pages=118–121}}</ref>  A major research and modern reconstruction of ''yayue'' of the imperial court was initiated in Taiwan in the 1990s, and  in mainland China a performance of ''yayue'' music in 2009 by [[Nanhua University]]'s ''yayue'' music ensemble in [[Beijing]] also spurred interest in this form of music.<ref name="sui">{{cite news |author=Cindy Sui |date=September 1, 2011 |title=The Melodies of the Emperors |work=Taiwan Today |url=http://taiwantoday.tw/ct.asp?xItem=174112&ctNode=124&mp=9}}</ref>  There are however questions over the authenticity of these revived and recreated ''yayue'' music and dances, especially the use of modern forms of instruments and various substitutions rather than the more ancient and original forms, nonetheless some argued that such music and dances have always changed over time through succeeding dynasties, and that any changes introduced in the modern era should be seen in this light.<ref name="sui" /><ref>{{cite book |url=https://books.google.com/books?id=jMu6p0JPrvQC&pg=PA131 |title=Music and Ritual |publisher=Semar Publishers |year=2007 |isbn=978-88-7778-086-7 |editor=Keith Howard |page=131}}</ref>
+== Dance used for politics in the 20th century ==<!-- took from history of Chinese dance -->
+In the early 20th century, there was a call to "make use of old forms" of literature and art as a means of connecting with the masses.<ref>{{cite book |url=https://books.google.com/books?id=SWuPCNxdsQgC&pg=PA8 |title=Popular Chinese Literature and Performing Arts in the People's Republic of China 1949–1979 |publisher=University of California Press |year=1984 |isbn=978-0-520-04852-2 |editor=Bonnie S. McDougall |pages=8–14}}</ref> Traditional Chinese dance forms were revised and propagated. In 1943, the [[Chinese Communist Party]] launched the new ''[[yangge]]'' movement where the ''yangge'' dance was adopted as a means of rallying village support. The new dance is a simplified version of the old dance with socialist elements such as the leader of the dance holding a sickle instead of umbrella, and it is also known as "struggle yangge" or "reform yangge".<ref>{{Cite journal |last1=Chang-tai |first1=Hung |year=2005 |title=The Dance of Revolution: Yangge in Beijing in the Early 1950s |journal=The China Quarterly |volume=181 |issue=181 |pages=82–99 |doi=10.1017/S0305741005000056 |jstor=20192445 |s2cid=42166289}}</ref><ref>{{cite book |author=Richard Gunde |url=https://books.google.com/books?id=YMT4U_abB6oC&pg=PA107 |title=Culture and Customs of China |publisher=Greenwood |year=2001 |isbn=978-0-313-36118-0 |page=107}}</ref>
+== See also ==
 * [[Theatre state]]
@@ Line 75: / Line 95: @@
 * [[Yayue]]
-== External Links ==
+== References ==
+{{reflist}}
+== External links ==
+: [[File:Wikisource-logo.svg|link=|alt=维基文库中的相关文本：|class=noviewer|16x16px|维基文库]] 《[https://zh.wikisource.org/wiki/%E6%AC%BD%E5%AE%9A%E5%8F%A4%E4%BB%8A%E5%9C%96%E6%9B%B8%E9%9B%86%E6%88%90/%E7%B6%93%E6%BF%9F%E5%BD%99%E7%B7%A8/%E7%A6%AE%E5%84%80%E5%85%B8/%E7%A6%AE%E6%A8%82%E7%B8%BD%E9%83%A8 欽定古今圖書集成·經濟彙編·禮儀典·禮樂總部]》, from the ''[[Complete Classics Collection of Ancient China]]''
+{{Religious Confucianism}}
-: [[File:Wikisource-logo.svg|link=|alt=维基文库中的相关文本：|class=noviewer|16x16px|维基文库]] 《[https://zh.wikisource.org/wiki/%E6%AC%BD%E5%AE%9A%E5%8F%A4%E4%BB%8A%E5%9C%96%E6%9B%B8%E9%9B%86%E6%88%90/%E7%B6%93%E6%BF%9F%E5%BD%99%E7%B7%A8/%E7%A6%AE%E5%84%80%E5%85%B8/%E7%A6%AE%E6%A8%82%E7%B8%BD%E9%83%A8 欽定古今圖書集成·經濟彙編·禮儀典·禮樂總部]》，出自[[蒋廷锡]]《[[古今图书集成|古今圖書集成]]》
-[[Category:Ancient institutions in East Asia]]  [[Category:Ancient Chinese institutions]]
+[[Category:Ancient institutions in East Asia]]
+[[Category:Ancient Chinese institutions]]
-[[Category:Religious Confucianism]]
+[[Category:Confucian rites]]
-<references />

v t e Religious Confucianism
Rituals	Jesa Sacrifice to Heaven Festival Huế Feng Shan Ritual and music system Guan Li Ji Li Marriage Ghost marriage Worship of the living
Concepts	Shendao shejiao Chinese theology Mandate of Heaven Confucian ritual religion Filial piety Unity of Heaven and humanity Interactions Between Heaven and Mankind Chinese folk religion Ancestor veneration in China Son of Heaven Tianxia Yan Huang Zisun Soil and grain
Organizations	Confucian church Holy Confucian Church Xuanyuan teaching Taigu school Shengdao Confucian Academy Confucian Shinto Taiseikyo Shusei Suika Shinto Onmyōdō
People	Yellow Emperor Confucius Xunzi Kang Youwei Yamazaki Ansai
Buildings	Temple of Confucius Confucian royal ancestral shrine Ancestral shrine Religious goods store Hero shrine Myo shrine Jongmyo Munmyo Ci shrine Miao shrine Yin miao Beijing Temples Temple of Heaven Beijing Shejitan Temple of Agriculture
Objects	Spirit tablet Tiangong censer Hell money Confucian coin charm Joss paper
Books	Four Books and Five Classics Thirteen Classics
Deities	Tian Shangdi Wufang Shangdi Yellow Emperor White Emperor Shaohao Black Emperor Zhuanxu Xuanwu Bluegreen Emperor Fu Xi Red Emperor Shennong Flame Emperor Zhurong
Tutelary deities	Landlord deity Tudigong City God Mountain God