The Image of Music and Sound in Xunzi's 'On Music': A Study of Character, Cosmos, and the Cultivation of Rites and Music

Section 2: "Music Unifies, Rites Delineate Differences" ($\text{yuè hé tóng, lǐ bié yì}$) — The Social Function of Sound and Music

Master Xunzi's most incisive statement on the social function of music appears in Xunzi: On Music:

"Music ($\text{yuè}$) is that which is unchangeably harmonious ($\text{hé tóng}$). Rites ($\text{lǐ}$) are that which is immutably ordered ($\text{lǐ zhī bù kě yì zhě}$). Music unifies ($\text{hé tóng}$); Rites delineate differences ($\text{bié yì}$). The governance of Rites and Music controls the human heart." (Xunzi, Yue Lun)

"Music unifies, Rites delineate differences" ($\text{yuè hé tóng, lǐ bié yì}$)—The function of music is to bring about unity and harmony among people; the function of rites is to establish differentiation and distinction of ranks. They complement each other in governing the human heart.

This insight provides a sociological lens through which to view the "Imagery of Sound and Music." The qualities ascribed to the twelve instruments/activities are not merely aesthetic descriptions but also symbolic representations of social functions:

The drum's "grand beauty" ($\text{dà lì}$) — the sublimity of the ruler. "Is not the drum the sovereign of music$8" ($\text{gǔ qí yuè zhī jūn xié}$)$9 The drum is the sovereign of music, just as the ruler is the sovereign of the state. The drum’s quality is that of the ideal ruler—sublime, brilliant, governing everything while maintaining dignity.

The bell’s "comprehensive substantiality" ($\text{tǒng shí}$) — the solid dependability of ministers. The bell is the foundation of music, like the pillars of the state. The bell’s quality is that of the ideal administrator—unifying factions while possessing inner substance.

The chime stone’s "purity and regulation" ($\text{lián zhì}$) — the clear strictness of the law. The chime stone regulates the music, like laws regulate the state. Its quality is that of ideal law—upright, pure, and measured.

The yú, shēng, and xiāo's "harmony" ($\text{hé}$) — the social harmony among various classes. The multi-pipe coordination mirrors the harmonious coexistence of different social strata.

The guǎn and yuè's "fierce emission" ($\text{fā měng}$) — the vigor of the individual. The singular, strong assertion of the single pipe mirrors individual striving and initiative.

The xūn and chí's "expansive and ample" ($\text{wēng bó}$) — the depth of culture. The deep, broad sound reflects the profound accumulation of cultural heritage.

The sè's "easily good" ($\text{yì liáng}$) — the mildness of the populace. The gentle and kind sound mirrors the simple and benevolent nature of the common people.

The qín's "pleasantly feminine" ($\text{fù hǎo}$) — the refinement of virtue. The subtle and beautiful sound mirrors the gentle and modest virtue of the refined person.

Song's "purity and exhaustion" ($\text{qīng jìn}$) — the uprightness of discourse. The clear and complete sound mirrors sincere and upright speech.

Dance's "combining the intent of the Dao of Heaven" ($\text{yì tiān dào jiān}$) — the peace under Heaven. Encompassing the Dao’s intent, it mirrors the ultimate state of universal concord.

Thus, the "Imagery of Sound and Music" is not just an aesthetic description but a miniature political ideal—every quality corresponds to an aspect of the ideal society. The entire ensemble is a microcosm of the ideal state, possessing a ruler, ministers, officials, populace, clear discourse, and ultimate peace.

Xunzi: On Music explicitly states this correspondence:

"Thus, music is the greatest harmony of the world, the standard of central balance ($\text{zhōng hé}$), and an inevitability of human feeling. Therefore, the Sages created literature ($\text{wén}$) to express it, making its sound sufficient for enjoyment without running to excess, its forms sufficient for distinction without becoming harsh, and its changes in pitch, complexity, clarity, texture, rhythm, and tempo sufficient to move the good heart of man, so that evil and corrupting influences have no way to make contact."

The qualities described in "The Imagery of Sound and Music"—dà lì, tǒng shí, lián zhì, hé, fā měng, etc.—are the concrete manifestations of "changes in pitch, complexity, clarity, texture, rhythm, and tempo" that are "sufficient to move the good heart of man." This is the precise method by which the former kings established music—to cultivate the good tendencies within human nature, ensuring that "evil and corrupting influences have no way to make contact." This is a strategy of "driving out evil with good," rather than merely prohibiting evil music (Mozi’s method), by saturating the heart with the virtues of good music, leaving no room for the qualities of decadent music.