The Image of Music and Sound in Xunzi's 'On Music': A Study of Character, Cosmos, and the Cultivation of Rites and Music
This paper offers an in-depth interpretation of the 'Image of Music and Sound' (Sheng Yue zhi Xiang) discussed in Xunzi's 'On Music,' clarifying the Pre-Qin meaning of 'Xiang' (image/analogy) and elucidating how the qualities of sound correspond to the myriad things in the cosmos. It further situates this correspondence within Xunzi's Confucian framework of 'transforming human nature through rites and music' to explore the cosmological significance and pedagogical function of music.
Section 4: The Resonance between Record of Music and Xunzi's Theory
The Book of Rites: Record of Music ($\text{Lǐ Jì: Yuè Jì}$) is a major compilation of pre-Qin musical theory, and its ideas resonate closely with Xunzi’s On Music.
The Record of Music discusses the qualities of sound and music:
"Thus, when earth is depleted, grass and trees do not grow; when water is agitated, fish and tortoises do not grow large; when qi decays, the generation of things ceases; when the world is in disorder, rites become treacherous and music licentious. Therefore, its sound is sorrowful but not stately, joyful but insecure, slow and easy, violating the measures, flowing in excess and forgetting the foundation. If broad, it allows infiltration of villainy; if narrow, it cultivates desire. It is stimulated by the unrestrained qi and extinguishes the virtue of peace. Therefore, the gentleman despises it."
This passage describes the qualities of "music in times of disorder" ($\text{luàn zhī yuè}$): "sorrowful but not stately," "joyful but insecure," "slow and easy, violating the measures," "flowing in excess and forgetting the foundation"—all negative qualities. In stark contrast, the qualities described in Xunzi’s "Imagery of Sound and Music"—dà lì, tǒng shí, lián zhì, hé, fā měng, wēng bó, etc.—are all positive qualities. The two passages, one describing the positive, the other the negative, form a complete contrast: the qualities of good music (described by Xunzi) versus the qualities of evil music (described in the Record of Music), corresponding to order and chaos in the world.
The Record of Music further states:
"Great Music corresponds in harmony with Heaven and Earth; Great Rites correspond in measure with Heaven and Earth."
"Great Music corresponds in harmony with Heaven and Earth" ($\text{dà yuè yǔ tiān dì tóng hé}$)—the highest music shares the same harmony as Heaven and Earth. This maxim is the keynote for Xunzi’s cosmological correspondence—the reason why instruments can be mapped to Heaven, Earth, and the myriad things is precisely because "Great Music corresponds in harmony with Heaven and Earth"—music and the cosmic order share an identical structure of harmony.