The Place Where Confucius Heard the Shao Music

The Place Where Confucius Heard the Shao Music

Located in Shaoyuan Village, Qidu Town, Zibo City, Shandong Province today. The 9th year (1920) of the Republic of China edition of the Linzi County Annals records: During the Jiaqing era of the Qing Dynasty, an ancient stele inscribed with “The Place Where Confucius Heard the Shao Music” was unearthed while digging in Zaoyuan Village, east of the city. Later, several stone chime stones were also found in the ground, prompting the renaming of the village to Shaoyuan. By the time of the Xuantong era, the original stele had gone missing. Fearing that this historic site would be lost without a trace, the elders of the village erected another stele in 1911, still inscribed with “The Place Where Confucius Heard the Shao Music.”

In 1982, municipal and district governments funded the embedding of the “The Place Where Confucius Heard the Shao Music” stele on the wall inside the school of Shaoyuan Village, and added a “Music and Dance Illustration” as well as a brief introduction to Confucius hearing the Shao Music in Qi. The engraved text states: Legend has it that during China’s ancient Yu-Shun period, there was a type of music and dance called “Shao,” also known as “Xiao Shao” or “Shao Xiao.” Since the Shao music had nine chapters, it was also called “Jiu Shao,” representing a highly refined form of performing art. By the Spring and Autumn period, Shao music remained popular in the State of Qi. The Analects of Confucius · Shu Er records: “The Master heard the Shao music in Qi and for three months did not notice the taste of meat.”

In 1995, an ancient qin tablature titled “Xiao Shao Jiu Cheng? Feng Huang Lai Yi” was discovered within the ruins of the Qi State’s ancient capital.

After authentication by relevant experts, it was identified as early Qi-style Shao music. The Qi State Ruins Museum recast bianzhong bells, constructed a Shao Music performance hall of the Qi State, and opened it to visitors.

The Place Where Confucius Heard the Shao Music is now situated in the north of the village, consisting of a modest-sized, light-gray imitation ancient building. On the north wall just inside the entrance, a stone stele is embedded in the center, inscribed with large clerical script characters reading “The Place Where Confucius Heard the Shao Music.” To the left and right of the stele are two smaller stone engravings. The left one is the “Dance and Music Illustration,” depicting two people sitting cross-legged on the ground — one holding and horizontally blowing a wind instrument, the other sitting upright to the right, seemingly immersed in the beautiful artistic realm, presumably Confucius appreciating the music; below are two beauties with long sleeves and flowing ribbons, dancing gracefully. The right engraving is an introduction to “Shao Music and Confucius Hearing It in Qi.” The engraved text states: Legend has it that during China’s ancient Yu-Shun period, there was a type of music and dance called “Shao,” also known as “Xiao Shao” or “Shao Xiao.” Since the Shao music had nine chapters, it was also called “Jiu Shao,” representing a highly refined form of performing art. By the Spring and Autumn period, Shao music remained popular in the State of Qi. The Analects · Shu Er records: “The Master heard the Shao music in Qi and for three months did not notice the taste of meat.”

The “Shao” is historically known as the music of Emperor Shun. The Bamboo Annals record: “Emperor Shun of the Youyu Clan created the grand ‘Da Shao’ music.” The Lüshi Chunqiu · Ancient Music Chapter similarly states: “Emperor Shun then ordered Zhi to refine the ‘Jiu Shao,’ ‘Liu Lie,’ and ‘Liu Ying’ to demonstrate the emperor’s virtue.” From this, we know that Shun composed the “Shao” primarily to praise the sage virtue of Emperor Yao and to express his loyal succession.

Afterward, the emperors of the Xia, Shang, and Zhou dynasties all used the “Shao” as ceremonial music for state events. For example, when King Wu of Zhou overthrew the Shang and entered the Yin capital, he performed the “Shao” music. The Zhou Yi Shu records: “The king entered and presented the ‘Wan.’” It is believed that the “Wan” refers to the civil dance “Shao.” Additionally, the “Shao” was also used in heaven worship ceremonies, as evidenced by the Rites of Zhou · Spring Officials: “Dance the ‘Da Shao’ to worship the Four Directions.” After King Wu of Zhou unified the realm and rewarded his meritorious subjects, Jiang Taigong, as the foremost contributor, was enfeoffed at Yingqiu to establish the State of Qi, and the “Shao” was introduced to Qi.

After the “Shao” entered Qi, influenced by Qi’s fundamental national policies of reform, openness, and “adapting to local customs while simplifying rituals,” it adapted to the local customs and habits. It absorbed nutrients from local art forms, enriching and evolving in both content and performance style, thereby enhancing its expressiveness and drawing closer to the traditional Dongyi music and dance, presenting a new character. Thus, in the 25th year of Duke Zhao of Lu (517 BC), when Confucius entered Qi and admired the Qi-style “Shao” at the home of Gao Zhaozi, he sincerely praised: “I never imagined music could reach such heights!” “I studied it, and for three months did not notice the taste of meat.” (Records of the Grand Historian · The House of Confucius · Shu Er) This left behind a timeless anecdote.

The Book of Sui · Biography of He Tuo records: “When Qin Shi Huang conquered Qi, he obtained the Qi ‘Shao’ music; when Han Gaozu conquered Qin, the ‘Shao’ was passed on to the Han, and Han Gaozu renamed it ‘Wen Shi.’” The Book of Han · Rites and Music Records and the Records of the Grand Historian · Annals of Emperor Xiaowen both state: Emperor Hui of Qin used the “Da Shao” and “Wu Xing” to worship the Supreme Temple, while the Han worshipped Gaozu and Taizong with the “Wen Shi.” The dancers of the “Wen Shi” were originally performing the Shao dance of Shun. This shows that both the Qin and Han dynasties designated the “Shao” as temple music, elevating its status in national music to its peak.

By the time of the Cao Wei dynasty, Emperor Wen of Wei, Cao Pi, ordered the “Wen Shi” to be renamed “Da Shao” and reinstated as temple music. By the time of Emperor Wu of Liang in the Southern Dynasties, who established his own suburban and temple music, the “Da Shao” was renamed “Da Guan.” This shows that although the content and name of the “Shao” music changed multiple times, it still remained among the music used by emperors.

However, from the Tang through the Song dynasties, there are no further records of the “Shao” music being used or performed.

The Records of the Grand Historian · The House of Confucius records: “The Master spoke with the Grand Music Master of Qi about music, heard the sound of the ‘Shao,’ studied it, and for three months did not notice the taste of meat, which the people of Qi found remarkable.”

The Analects of Confucius · Shu Er also records: “The Master heard the ‘Shao’ in Qi and for three months did not notice the taste of meat. He said: ‘I never imagined music could reach such heights.’”

Confucius was a great musician. The Records of the Grand Historian · The House of Confucius states: Confucius studied the qin under Master Xiangzi, not only learning the musical scores but also immersing himself in the mood and grasping the intent. At age thirty, Confucius began teaching students, offering what were called the “Six Arts” at the time: The Book of Songs, The Book of Documents, The Book of Rites, The Book of Changes, Music, and The Spring and Autumn Annals. At that time, rites and music were often mentioned together, showing the importance of music. The Records of the Grand Historian · The House of Confucius states: “Confucius taught through the Book of Songs, Documents, Rites, Music, Changes, and Spring and Autumn Annals.” After traveling through the various states and returning to Lu, Confucius said: “Only after I returned to Lu from Wei did I correct the music, placing the Ya and Song in their proper places.”

“Of the 305 poems in the Book of Songs, Confucius set every one to music, striving to align them with the Shao, Wu, Ya, and Song — thus, the rites and music can now be described.” These accounts clearly show that Confucius could not only teach “Music” in general but was also proficient in musical theory and deeply knowledgeable about musical scales. So why did “hearing the Shao in Qi” lead to “not noticing the taste of meat”? The answer lies in the nature of the Qi-style “Shao” itself.

According to research by contemporary scholars, “The ‘Shao’ was originally the music of the Dongyi people.”

(From “The Formation and Development of Qi [Shao] Music,” Guanzi Journal, Issue 2, 2002) Further evidence comes from Mencius, which states: “Shun was a man of the Dongyi.” The Liji · Yue Ji, annotated by Zheng Xuan, says: “The ‘Shao’ is the name of Shun’s music, signifying the continuation of Yao’s virtue.” The Book of Han · Rites and Music Records states: “Shun composed the ‘Shao.’”

Based on this, it can at least be said that the “Shao” has certain ancestral ties to the folk music of the Dongyi. When the Zhou dynasty was established, the “Shao” was used as ceremonial temple music, thus regarded as court music. When Jiang Taigong was enfeoffed in Qi, as Zhou’s court music, it was naturally brought into the State of Qi, giving the “Shao” the opportunity to reconnect with its roots. This was because Jiang Taigong governed Qi under the basic policy of “adapting to local customs and simplifying rituals,” and successive monarchs largely continued this open and pragmatic approach. As a result, there was not as strict a divide between court and commoners as in the Zhou royal court, and some rulers even preferred folk music over court music. Duke Jing of Qi once said: “I prefer folk music.” The Records of the Grand Historian · The House of Confucius records that in the 2nd year of Duke Ding of Lu (500 BC), at the Jiagu Conference between Qi and Lu, the music and dance performed by Qi for the ceremony was folk music (Le music).

Qi’s use of folk music for diplomatic summit ceremonies shows the state’s emphasis on such music. Under these circumstances, the “Shao” music absorbed new elements from local folk music and took on regional characteristics. It was precisely because the “Shao” embodied the local flavor of Qi that its use by Qi’s rulers expanded beyond ceremonies to include welcoming guests and banquets. The line from Li Sao — “Playing the Nine Songs and dancing the Shao, taking leisurely days for joy” — illustrates how Qu Yuan, while in Qi, received grand treatment that included the “Shao.”

Normally, all forms of art evolve according to context — this is the natural law of artistic development. The “Shao,” upon entering the court, became courtly refined music; upon contacting folk music, it integrated refinement with populism, thereby highlighting the expressiveness of the music and dance, increasing its artistic charm, and achieving greater perfection — this was an inevitable outcome. Therefore, when Confucius saw the Qi-adapted “Shao” music, he couldn’t help but exclaim: “The Shao is utterly beautiful, and utterly good.”