Music as a necessary means of moral education: a case study from reconstruction of Confucian culture in Joseon Korea

Abstract

This paper explores Confucian musical discourse as a valuable resource for mapping out contemporary culture. Stimulated by the advent of emerging music in pre-Qin period, wide and various debates resulted in exceptional emphasis on music, unparalleled in the world history. Music has been regarded as an indispensable part of Confucian moral education, not only for cultivating human nature but also for bringing up orderly society. This view promoted the concept of music closely combined with state rituals. Historically, music in this light has been a symbol of continuity of Confucian political ideal in the dynasties of China and of other East Asian countries such as Korea, Japan, and Vietnam. While those state-led productions of music contributed to the solidarity of the communities, they often exposed discrepancies between musical theories and practices. The reconstruction of Confucian ritual music in Joseon Korea is a worthwhile case of Confucian musical discourse, because it shows continuing significance in the following points. Firstly, the sources of ancient music were thoroughly reviewed and the revival of Confucian musical ideal was accordingly experimented. Secondly, the problematic phenomenon of theory overriding musical reality came into question and brought about heated controversy over the qualification for Joseon court music between Sino-Korean music and indigenous music. Thirdly, Joseon Confucian thinkers reexamined the following questions which had been taken for granted: Why can music be regarded as a necessary means of moral education? And which music is such music? Through this successful retrieval, they could keep Confucian musical discourse alive.