Endorsed by the Han Dynasty, the writings of Confucius became deeply embedded in Chinese culture. Music is mentioned many times in Confucius' Analects and also in another classic of the Confucian canon, the Li Ki or "Book of Rites." Much of his commentary bears a striking resemblance to the ancient Greek views on music expressed by Plato and Aristotle, particularly in the role of music as a tool for character development and good governance.
"Arouse yourself through poetry, establish yourself through ritualized action, and complete yourself with music." - Analects 8:8
"When you enter a state you can know what subjects have been taught. If they show themselves men who are mild and gentle, sincere and good, they have been taught from the Book of Poetry; if they be big-hearted and generous, simple and honest, they have been taught from the Book of Music." - Analects 23:1
"Whenever notes that are evil and depraved affect men, a corresponding evil spirit responds to them; and when this evil spirit accomplishes its manifestations, licentious music is the result. Whenever notes that are correct affect men, accorresponding good spirit responds to them; and when this good spirit accomplishes its manifestations, sublime music is the result." - Li Ki, 17.2
"Ceremonies and music in their nature resemble Heaven and Earth, penetrate the virtues of the spiritual intelligences, bring down spirits from above and lift the souls that are abased." - Li Ki 17.3
There is even surviving music attributed to Confucius himself, such as this traditional melody called "Solitary Orchid."
Chinese music uses the pentatonic scale, a scale consisting of five tones. The penatonic scale most commonly used in Chinese music is anhemitonic, meaning it contains no semitones, consisting of two whole tones, a third, another whole tone, and another third.
C anhemitonic pentatonic scale
There are not more than five musical notes, yet the combinations of these five give rise to more melodies than can ever be heard." - Sun Tzu, The Art of War V.7
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