Confucius said, “After I returned from Wei to Lu, I put the music in order, so that the ‘Ya’ and ‘Song’ sections each found their proper place.”
Note
This statement from the Analects reflects Confucius’s deep reverence for ritual and music and his sense of historical mission. During the late Spring and Autumn period, traditional rites and music had fallen into disarray. The courtly odes (“Ya”) and sacrificial hymns (“Song”) from the Classic of Poetry (Book of Poetry or Book of Songs) were often performed incorrectly or mixed together, losing their solemnity and symbolic meaning. Confucius, who was well-versed in musical theory, understood that music was not mere entertainment but intrinsically linked to moral order and governance.
Upon returning to Lu, he systematically corrected the melodies and restored the proper structure and function of each piece, ensuring that every type of poem was matched with its appropriate musical mode and performed in its rightful ritual context. This was not merely a technical act of musical editing but a profound effort to reconstruct cultural and ethical order. Through this work, Confucius embodied the Confucian ideal of “transforming the people and shaping customs through ritual and music” – believing that restoring authentic rites and music could rectify hearts, harmonize society, and ultimately realize a world governed by the Way (Dao).
Further Reading
The Master said, “One is inspired by the Odes, established by ritual, and perfected by music.” Analects 8.8 (Tai Bo)
Both highlight music as the culmination of moral and cultural cultivation; correct music completes the process of becoming a noble person.
When the Master heard the Shao music in Qi, for three months he did not taste meat, saying, “I never imagined music could reach such perfection!” Analects 7.14 (Shu Er)
Demonstrates Confucius’s deep emotional and spiritual response to morally elevated music – underscoring why restoring authentic music mattered to him.
子曰：「吾自衛反魯，然後樂正，雅頌各得其所。」
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