It also includes music produced by people of Chinese origin in some territories outside mainland China using traditional Chinese instruments or in the Chinese language.
It covers a highly diverse range of music from the traditional to the modern.
According to Mencius, a powerful ruler once asked him whether it was moral if he preferred popular music to the classics.
"Correct" music according to Zhou concept would involve instruments correlating to the five elements of nature and would bring harmony to nature.
Around or before the 7th century BC, a system of pitch generation and pentatonic scale was derived from a cycle-of-fifths theory.
Chinese philosophers took varying approaches to music.
To Confucius, a correct form of music is important for the cultivation and refinement of the individual, and the Confucian system considers the formal music yayue to be morally uplifting and the symbol of a good ruler and stable government.
The most important set of music of the period was the Six-dynasty Music Dance (六代樂舞) performed in rituals in the royal court.
Music in the Zhou Dynasty was conceived as a cosmological manifestation of the sound of nature integrated into the binary universal order of yin and yang, and this concept has enduring influence later Chinese thinking on music.
This is based on the conjecture that because the recorded examples of Chinese music are ceremonial, and the ceremonies in which they were employed are thought to have existed "perhaps more than one thousand years before Christ", the musical compositions themselves were performed, even in 1000 BC, in precisely the manner prescribed by the sources that were written down in the seventh century AD.
(It is based on this conjecture that Van Aalst dates the "Entrance Hymn for the Emperor" to c.
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