The Development of Pre-Qin Music in the Zhong Yuan of China
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Abstract
This study aimed to examine the historical development of music in China’s Zhong Yuan region during the pre-Qin period, tracing its evolution from primitive rituals to a sophisticated system of governance and cultural expression. The research methodology comprised analysis of archaeological artifacts (e.g., Jiahu bone flutes, Erlitou stone chimes), historical records (e.g., Shi Jing, oracle bone inscriptions), and philosophical texts (Confucian, Taoist, and Mohist discourses) through historical-comparative analysis and content analysis. The findings revealed three significant developmental phases:
1. Neolithic Origins: Music served primarily ritualistic and communal functions, exemplified by the 7,000–9,000-year-old Jiahu bone flutes, crafted from crane wing bones and capable of producing precise scales. These archaeological discoveries correspond with foundational myths such as Ling Lun's creation of music through imitation of phoenix songs.
2. Political Integration: By the Xia, Shang, and Zhou dynasties (approximately 2070-256 BCE), music became systematically institutionalized within statecraft, as evidenced by bronze bells in Shang royal rituals and the Zhou Dynasty’s implementation of the “ruling through rituals and music” system, which reinforced social hierarchies.
3. Philosophical Embedding: The pre-Qin philosophical schools conceptualized music differently—Confucianism framed music as a vehicle for moral education emphasizing harmony (he), Taoism positioned it as a means of cosmic alignment, and Mohism approached it as a site of class critique—collectively shaping China’s enduring cultural identity.
This research underscored Zhong Yuan music’s significance as a foundational pillar of Chinese civilization, functioning as a cultural bridge connecting ancient traditions to contemporary artistic forms.
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