In a previous entry, the role of music was observed in Plato, for whom music was perceived as a source of pleasure, and therefore needed to be carefully curbsed by officials of the Republic. Music in education must be reduced to only tones and rhythms that promote athletic and martial expression defending the city-state in war. Any other use of music is subordinated to this task, otherwise to be suppressed.
This view of music does not differ substantially in Confucius, who also subordinated music to state authority. Confucius describes music in more useful and artful detail: “Music is the form wherein tones are produced, because it takes its rise from the human heart when the heart is touched by the external world. Therefore when the heart’s chord of sorrow is touched, the sounds produced are sombre and forlorn; when the heart’s chord of satisfaction is touched, the sounds produced are languorous and slow; when the chord of joy is touched, the sounds produced are glowing and expansive; when the chord of anger is touched, the sounds produced are harsh and strong; when the chord of piety is touched, the sounds produced are simple and pure; and when the chord of love is touched, the sounds produced are sweet and gentle. These six kinds of emotion are not spontaneous, but are moods produced by impact from the external world.”
This description is informative but primarily intended to alert authorities to the intractable nature of music not controlled by the state. Emotions have to do with the heart, with private sentiments, necessitating that ancient kings will have “tried therefore to guide the people’s ideals and aspirations by means of li (i.e., music), establish harmony in sounds, regulate conduct by means of governance, and prevent immorality by means of punishments.” Linking music and immorality is a clue to Confucian response to perceived social behavior. Punishments for the wrong kind of music? Yes, continues Confucius: “Music, punishments, and government have a common goal, which is to bring about unity in the people’s hearts and carry out the principles of political order.”
Confucius is then presented as describing the idyllic past — when people were virtuous, weather was pleasant, mountains were beautiful, government was benign, ritual was fruitful, society was orderly, and music reflected this ideal. At the same time, he presents a psychological andncultural interpretation to understandable societal phenomena.
“Man is gifted with blood and breath and a conscious mind, but his feeling of sorrow and happiness and joy and anger depend on circumstances. His definite desires arise from reactions toward the material world. Therefore, when a sombre and depressing type of music prevails, we know the people are distressed and sorrowful. When a languorous, easy type of music with many long drawn-out airs prevails, we know that the people are peaceful and happy. When a strong and forceful type of music prevails, beginning and ending with a full display of sounds, we know that the people are hearty and strong. When a pure, pious and majestic type of music prevails, we know that the people are pious. When a gentle, lucid and quietly progressing type of music prevails, we know that the people are kind and affectionate. When lewd, exciting and upsetting music prevails, we know that the people are immoral.”
“When the soil is poor, things do not grow, and when fishing is not regulated according to the seasons, then fishes and turtles do not mature; when the climate deteriorates, animal and plant life degenerates, and when the world is chaotic, the rituals and music become licentious. We find then a type of music that is rueful without restraint and joyous without calm. . . .Therefore, the superior man tries to create harmony in the human heart by a rediscovery of human nature, and tries to promote music as a means to the perfection of human culture. When such music prevails and the people’s minds are led toward the right ideals and aspirations, we may see the appearance of a great nation.”
“Character is the backbone of our human nature, and music is the flowering of character. The metal, stone, string, and bamboo instruments are the instruments of music. The poem gives expression to our heart, the song gives expression to our voice, and the dance gives expression to our movements. These three arts take their rise from the human soul, and then are given further expression by means of the musical instruments. Therefore, from the depth of sentiment comes the clarity of form and from the strength of the mood comes the spirituality of its atmosphere. This harmony of spirit springs forth from the soul and finds expression or blossoms forth in the form of music. Therefore music is the one thing in which there is no use trying to deceive others or make false pretenses.”
In the end, then, music is for Confucius (and his interpolators) a key feature of public techniques promoting order and control — not unlike the role of music in Plato’s Republic.
Quotations from Yutang translation, Wisdom of Confucius.