The Wisdom of Confucius, Music Theory and the Architecture of Lichfield Cathedral, UK

“Everything has beauty, but not everyone sees it.” — Confucius

Introduction

The teachings of Confucius play a huge part in the life of modern Chinese society. He is taught daily in schools, in many villages and towns, and many large corporations adopt his principles in their management structures and operational policies. His teachings, their emphasis on the family and a balance and harmony between the individual and the collective and their application in modern China have, in a very large way, led to a more cohesive society and internationally competitive country.

Portrait of Confucius by Qui Ying, Ming Dynasty

Confucianism and music have been linked since ancient times, as both seek to foster harmony, balance, and order in the human experience. In this article, we will delve into the correspondence between the teachings of Confucius and the musical interval of unison, the octave and the perfect fifth, exploring their shared principles and highlighting the importance of unity and harmony in both spheres.

In earlier articles, we provided meditations on the concept of the musical interval of unison as found in the architecture of Lichfield Cathedral.

The Sacred Geometry & Kabbalah of Music in the Gothic Cathedral of Lichfield, an Introduction to…

And then we found correspondences to the geometry of Lichfield Cathedral and the musical octave and perfect fifth. We then hypothesised universal connections with the principles of major world religions.

Synthesising the Geometry of Lichfield Cathedral with Music and Finding the Ark of the Covenant

This article is part of the series of this latter piece, and you may find it useful to review them.

Unison

I. The Teachings of Confucius: Harmony and Balance

Confucius, a Chinese philosopher who lived between 551–479 BCE, is known for his emphasis on the cultivation of personal virtues and the establishment of harmonious social relationships. In a sense, his teachings would measure the spirituality of the individual by the quality of their relationships.

Confucianism centres on five cardinal virtues: benevolence, righteousness, propriety, wisdom, and fidelity. These virtues, along with the concept of ‘Li’ (rites, rituals, and proper behaviour), serve to guide individuals toward moral excellence and harmonious social interactions.

II. The Unison Interval: Unity in Sound

The unison interval in music refers to two or more musical notes played simultaneously that share the same pitch. The result is a perfect blending of sound, where no tension or dissonance is perceivable. This complete unity in sound represents harmony and balance, echoing the fundamental principles of Confucianism.

III. Correspondences between Confucian Teachings and the Unison Interval

A. Shared Emphasis on Harmony and Balance

Both Confucianism and the unison interval prioritize harmony and balance as central concepts. In Confucianism, harmony is sought through the cultivation of personal virtues and proper social conduct, while in music, harmony is achieved through the blending of complementary sounds, as exemplified by the unison interval.

B. The Role of Unity

The unison interval symbolizes unity in sound, which mirrors the Confucian emphasis on unity in society. Confucius believed that a well-ordered society could only be achieved when individuals worked together in harmony, each playing their unique role. Similarly, the unison interval demonstrates how separate musical elements can come together to create a harmonious and unified sound.

C. Order and Structure

Confucianism and the unison interval both emphasize the importance of order and structure in achieving harmony. In Confucianism, the concept of ‘Li’ dictates appropriate behaviour and rituals to maintain social order. In music, the unison interval functions within a structured system of intervals, scales, and melodies to produce a sense of order and coherence.

IV. The Unison Interval as a Metaphor for Confucianism

And so, the unison interval serves as a fitting metaphor for the teachings of Confucius. The unity, harmony, and balance that defines the unison interval reflect the core principles of Confucianism, emphasizing the importance of cultivating personal virtues and maintaining harmonious social relationships. Just as the unison interval brings together separate musical elements to create a cohesive and harmonious sound, Confucian teachings guide individuals toward unity, order, and harmony in their lives and society at large.

The Octave

In the profound wisdom of Confucius, the musical octave resonates with the harmonious principles that govern the social fabric and the cultivation of moral virtues. This celestial harmony reflects the ideal balance between the individual and the collective, as it seeks to create an ordered and harmonious society based on righteousness, benevolence, and respect.

The seven notes within an octave echo the core Confucian virtues, the guiding principles that shape the character of individuals and foster the harmonious relationships that form the foundation of a just and prosperous society. Each note embodies a specific virtue, weaving a melodious tapestry that resonates with ancient wisdom and nurtures the cultivation of moral character.

Ren

The first note resonates with Ren, the virtue of benevolence and humaneness, reflecting the genuine care and compassion for others that is the cornerstone of moral conduct.

1. “仁者爱人。” — “The benevolent person loves others.” (Analects 12.22)
2. “己所不欲，勿施于人。” — “Do not impose on others what you yourself do not desire.” (Analects 15.24)
3. “学而时习之，不亦说乎？有朋自远方来，不亦乐乎？人不知而不愠，不亦君子乎？” — “Is it not a pleasure to learn and practice what is learned time and again? Is it not delightful to have friends coming from distant places? Is it not the way of a gentleman to be not offended when others do not recognize his ability?” (Analects 1.1)
4. “君子周而不比，小人比而不周。” — “The superior man is all-embracing and not partial. The inferior man is partial and not all-embracing.” (Analects 2.14)
5. “克己复礼为仁。” — “To subdue oneself and return to propriety is benevolence.” (Analects 12.1)

Yi

The second note harmonizes with Yi, the virtue of righteousness, representing the unwavering adherence to moral principles and the pursuit of justice and fairness.

1. “见义不为，无勇也。” — “To see what is right and not to do it is a lack of courage.” (Analects 2.24)
2. “君子喻于义，小人喻于利。” — “The superior man is aware of righteousness; the inferior man is aware of advantage.” (Analects 4.16)
3. “志士仁人，无求生以害仁，有杀身以成仁。” — “The determined scholar and the man of virtue will not seek to live at the expense of righteousness, but will sacrifice their lives to achieve it.” (Analects 15.8)
4. “子曰：「质胜文则野，文胜质则史。文质彬彬，然后君子。」” — “Confucius said: ‘If natural substance prevails over ornamentation, one becomes coarse; if ornamentation prevails over natural substance, one becomes a pedant. Only when ornament and substance are well balanced can one be a gentleman.’” (Analects 6.18)
5. “志于道，据于德，依于仁，游于艺。” — “Set your mind on the Way, establish yourself in virtue, rely on benevolence, and immerse yourself in the arts.” (Analects 7.6)

Li

The third note rings with the essence of Li, the virtue of propriety and ritual, embodying the cultivation of respect, courtesy, and the observance of social norms that maintain harmony within society.

1. “子曰：「恭而无礼则劳；慎而无礼则葸；勇而无礼则乱；直而无礼则绞。君子敬以直内，义以方外，敬义立而德不孤。」” — “Confucius said: ‘Reverence without proper ritual creates strain; caution without proper ritual leads to timidity; courage without proper ritual leads to disorder; and forthrightness without proper ritual leads to rudeness. The gentleman is reverent in his conduct and just in his dealings, thus his sense of reverence and justice make his virtue stand firm.’” (Analects 8.2)
2. “弟子入则孝，出则弟，谨而信，泛爱众，而亲仁。行有余力，则以学文。” — “A young person should be filial when at home, respectful to his elders when away from home, cautious and honest, loving to all, and devoted to benevolence. If he has any energy left, let him use it to study literature and the arts.” (Analects 1.6)
3. “子曰：「君子无所争，必也射乎！揖让而升，下而饮。其争也君子。」” — “Confucius said: ‘The gentleman has no contention. If there must be competition, let it be at archery. He bows and makes way when entering, and drinks last when descending. This is the competition of a gentleman.’” (Analects 3.7)
4. “子曰：「里仁为美。择不处仁，焉得知？」” — “Confucius said: ‘It is to love one’s fellow men that makes one beautiful. If one does not dwell among those who possess benevolence, how can one become wise?’” (Analects 4.1)
5. “子曰：「事君，敬其事而后其食。」” — “Confucius said: ‘When serving your ruler, devote yourself to your duties first, then attend to your sustenance.’” (Analects 10.20)

Zhi

The fourth note reverberates with Zhi, the virtue of wisdom and knowledge, reflecting the importance of learning and understanding the principles that guide ethical conduct and human relationships.

1. “子曰：「学而不思则罔，思而不学则殆。」” — “Confucius said: ‘Learning without thinking is useless; thinking without learning is dangerous.’” (Analects 2.15)
2. “子曰：「知之者不如好之者，好之者不如乐之者。」” — “Confucius said: ‘One who knows is not equal to one who loves knowledge, and one who loves knowledge is not equal to one who delights in it.’” (Analects 6.20)
3. “子曰：「由，诲女知之乎！知之为知之，不知为不知，是知也。」” — “Confucius said: ‘You, shall I teach you about knowledge? When you know a thing, to recognize that you know it; and when you do not know a thing, to recognize that you do not know it. That is knowledge.’” (Analects 2.17)
4. “子曰：「三人行，必有我师焉；择其善者而从之，其不善者而改之。」” — “Confucius said: ‘When three people walk together, there is always something I can learn from them. I pick out the good qualities in others and follow them, and I observe the bad qualities in others and correct them in myself.’” (Analects 7.21)
5. “子曰：「温故而知新，可以为师矣。」” — “Confucius said: ‘To review what you have learned and to gain new insights from it, you can be a teacher.’” (Analects 2.11)

Xin

The fifth note intones the spirit of Xin, the virtue of integrity and trustworthiness, signifying the importance of honesty and the upholding of one’s promises and commitments.

1. “子曰：「巧言令色，鲜矣仁！」” — “Confucius said: ‘Fine words and an insinuating appearance are seldom associated with true virtue.’” (Analects 1.3)
2. “子曰：「君子食无求饱，居无求安，敏于事而慎于言，就有道而正焉，可谓好学也已。」” — “Confucius said: ‘The gentleman is not concerned with eating to the full, nor with seeking comfort in his home. He is diligent in his duties and cautious in his speech. He seeks the company of those who are on the right path and is corrected by them. This can indeed be called a love of learning.’” (Analects 1.14)
3. “子曰：「信近于义，言可复也。恭近于礼，远耻辱也。因不失其亲，亦可宗也。」” — “Confucius said: ‘Sincerity is close to righteousness, and words can be trusted. Reverence is close to propriety, and it keeps disgrace and shame at a distance. A person who does not lose their parents’ love can be a model for others.’” (Analects 13.19)
4. “子曰：「君子义以为质，礼以行之，孙以出之，信以成之。君子哉！」” — “Confucius said: ‘The gentleman takes righteousness as his essence, practices it through propriety, tempers it with humility, and perfects it with trustworthiness. Such is a gentleman indeed!’” (Analects 17.6)
5. “子曰：「见贤思齐焉，见不贤而内自省也。」” — “Confucius said: ‘When you see someone of worth, think of equaling them; when you see someone unworthy, examine yourself inwardly.’” (Analects 4.17)

Xiao

The sixth note resounds with Xiao, the virtue of filial piety, emphasizing the importance of honouring and respecting one’s parents and ancestors, as well as the larger family structure.

1. “子曰：「孝弟也者，其为仁之本与！」” — “Confucius said: ‘Filial piety and fraternal submission — are they not the root of benevolence?’” (Analects 1.2)
2. “子曰：「事父母几谏，见志不从，又敬不违，劳而不怨。」” — “Confucius said: ‘In serving your parents, you may respectfully offer counsel. If you see that your advice is not followed, remain respectful and do not contradict them. Continue to be diligent and do not complain.’” (Analects 4.18)
3. “子曰：「父母在，不远游，游必有方。」” — “Confucius said: ‘While your parents are alive, do not travel far away; if you must travel, have a fixed destination.’” (Analects 4.19)
4. “子曰：「父母之年，不可不知也：一则以喜，一则以惧。」” — “Confucius said: ‘You must not fail to know the age of your parents. Knowing this will make them happy and also make you cautious.’” (Analects 4.21)
5. “子夏问孝。子曰：「色难。有事，弟子服其劳；有酒食，先生馔，曾是以为孝乎？」” — “Zi Xia asked about filial piety. Confucius said: ‘It is the attitude that is difficult. If, when their elders have any troublesome tasks, the young take the toil and when the young have wine and food, they set them before their elders, is this to be considered filial piety?’” (Analects 2.8)

Zhong

The seventh note, akin to Zhong, the virtue of loyalty and devotion, signifies the steadfast commitment to one’s duties and responsibilities, as well as the support for the greater harmony of society.

1. “子曰：「事君，敬其事而后其食。」” — “Confucius said: ‘When serving your ruler, devote yourself to your duties first, then attend to your sustenance.’” (Analects 10.20)
2. “子曰：「不患无位，患所以立；不患莫己知，求为可知也。」” — “Confucius said: ‘Do not worry about not holding a high position; worry about how to make yourself worthy of one. Do not worry about being unknown; seek to be worthy of being known.’” (Analects 4.14)
3. “子曰：「君子有三戒：少时，血气未定，戒之在色；及其壮也，血气方刚，戒之在斗；及其老也，血气既衰，戒之在得。」” — “Confucius said: ‘The gentleman has three things to be cautious about: in youth, when the physical powers are not yet settled, he must be cautious about lust; in middle age, when the physical powers are just strong, he must be cautious about quarrelsomeness; in old age, when the physical powers are already weak, he must be cautious about greed.’” (Analects 16.7)

The Balance Between the Individual and the Collective

As the octave culminates in the eighth note, it embodies the harmony of social order, reflecting the ultimate balance between individuals and the collective, which is the foundation of Confucian ethics.

A Celestial Symphony of Moral Virtues

Thus, the musical octave, in the language of Confucius, unveils a celestial symphony of moral virtues that resonate at the level of the individual and collective soul, an auditory representation of the harmonious relationships and ethical principles that form the foundation of a just and prosperous society. As one attunes oneself to these harmonious vibrations, the seeker is guided towards a deepened understanding of Confucian wisdom, embracing the virtues that cultivate moral character and foster a life of righteousness, benevolence, and respect.

The Perfect Fifth

There are additional parallels between the teachings of Confucius and the musical concept of the perfect fifth that are distinct from the correspondences with the unison and octave intervals.

The perfect fifth interval is one of the most consonant and stable intervals in music and plays a crucial role in establishing the tonality of a piece. This sense of stability and consonance can be related to specific aspects of Confucian teachings.

I. The Perfect Fifth: Stability and Consonance

The perfect fifth interval consists of two notes with a frequency ratio of 3:2. It is considered one of the most consonant intervals in music, creating a sense of stability, balance, and resolution when played together. The perfect fifth is often used to establish the tonality or key of a piece of music, as it forms the foundation of both major and minor scales.

II. Parallels between Confucian Teachings and the Perfect Fifth

A. The Confucian Concept of ‘Zhong Yong’ (Doctrine of the Mean)

The Confucian concept of ‘Zhong Yong’ (Doctrine of the Mean) emphasizes the importance of finding balance and moderation in all aspects of life. Just as the perfect fifth interval creates a sense of balance and stability in music, the Doctrine of the Mean advocates for a balanced approach to one’s emotions, actions, and relationships, enabling individuals to achieve a sense of harmony and equilibrium in their lives.

B. The Five Relationships

Confucian teachings emphasize the importance of maintaining harmony and balance within the ‘Five Relationships’:

1. Ruler and subject
2. Father and son,
3. Elder brother and younger brother,
4. Husband and wife, and
5. Friend and friend.

These relationships can be seen as analogous to the perfect fifth, which provides a stable foundation for the structure of a musical piece. The perfect fifth’s role in establishing tonality can be compared to the stabilizing force of the Five Relationships in Confucian society, where each relationship contributes to the harmonious functioning of the whole.

C. The Importance of Ritual and Music in Confucianism

Confucius believed that music and ritual played a crucial role in cultivating moral character and maintaining social harmony. In ancient China, music was often based on the pentatonic scale, which prominently features the perfect fifth interval. The use of the perfect fifth in traditional Chinese music highlights its consonance and stability, reinforcing the values of balance and harmony that are central to Confucian teachings.

And so, the perfect fifth interval represents stability and consonance, which can be related to specific aspects of Confucian teachings, such as the Doctrine of the Mean and the Five Relationships. These parallels further emphasize the importance of balance, harmony, and stability in both music and Confucianism, illustrating how the principles of music can serve as a metaphor for the teachings of Confucius.

Traditional Chinese Music Influenced by Confucius

It is difficult to find specific songs from the time of Confucius that are still widely played today, though there are ancient Chinese musical pieces and styles that can be traced back to the period of Confucius and continue to be performed in various forms. One such example is the ancient Chinese musical tradition called “Yayue” (雅樂), which can be translated as “elegant” or “refined music.”

Yayue was an important part of ceremonial court music and ritual performances during the time of Confucius and the Zhou Dynasty. Confucius himself was known to be a great advocate of Yayue, as he believed that this form of music had the power to cultivate moral character and promote harmony in society.

While the original compositions from Confucius’s time have not survived, the essence of Yayue has been preserved and adapted through various dynasties in China. Some pieces that are influenced by the Yayue tradition and performed today include:

1. “Gao Shan Liu Shui” (高山流水) — High Mountains and Flowing Waters: This is a famous piece for the guqin, an ancient Chinese stringed instrument. It is said to represent the beauty of nature and the harmony between humans and their environment.
2. “Yang Chun Bai Xue” (阳春白雪) — Sunny Spring and White Snow: Another guqin piece, it symbolizes the contrasting beauty of nature in both spring and winter, highlighting the balance and harmony inherent in the natural world.
3. “Jiu Kuang” (酒狂) — Wine Madness: A guqin composition that portrays the joy and unrestrained spirit associated with drinking wine, it also serves as a reminder of the importance of moderation in all aspects of life.

These pieces are inspired by and adapted from the ancient Yayue tradition. They continue to be played and appreciated in China today, reflecting the enduring influence of the cultural and musical values of Confucius’s era.

The Geometry of the Dodecahedron, The Golden Mean, and the Icosahedron. Spiritual Light Inside the Soul.

The dodecahedron, most famously studied by Plato, has fascinated philosophers for centuries and is seen as the temple for the underlying structure of the cosmos. Within its geometry, we have the central symmetry of twelve pentagons (five-sided polygons) and an inner structure built from three golden rectangles.

Furthermore, the icosahedron also has three golden rectangles in its centre.

In our earlier article, referenced above, on synthesising the geometry of Lichfield Cathedral with the theoretical structure of music we concluded that the Platonic Solids could be situated in the Cathedral in the following manner.

In some respects, there are many parallels between the moral epistemology and structure of the teachings of Confucius and the positioning of these shapes. Certainly, the ‘High Mountain’ is the Central Spire of the Cathedral, and the flowing waters are the spiritual light as it flows as a ‘River from Eden’ from the Infinite Light, refracted in perfect form through the dodecahedron and icosahedron.

The Lady Chapel of Lichfield cathedral looking easterly through the shrine of St Chad

Practical Application

Explore classical Chinese music on YouTube and try to imagine what it is about this music that was so important to Confucius and why he believed that the study of music was central to the cultivation of the virtuous superior person and harmonious society.

Dr Nick Stafford

Eye of Heaven — Lichfield Cathedral, a Theory of Everything

“Sometimes too hot the eye of heaven shines”— William Shakespeare

Footnotes

Artificial intelligence was used to assist in the research for this article.

Photography of Lichfield Cathedral by the author.