Confucian music thought originated from Confucius, whose music thought was completely based on the interests of the ruling class. Although Confucius did not establish a systematic music theory, it had a great influence on later Confucian music thoughts. Confucius is proficient in music. He can sing and play many kinds of musical instruments. He takes music as one of the compulsory subjects for students. He is rich in music knowledge and accurate in critical analysis of music. He advocates the unity of music "form" (form) and "quality" (content) (The Analects of Confucius Yong Ye: "Gentleness makes a gentleman"). Confucius emphasized the political function of music, advocated retro, implemented a strict hierarchical system, and rejected popular music, all of which directly influenced the later Confucian music theory and the court ceremony and music system.

From Confucius, after the development of later generations, a relatively complete Confucian music thought appeared. His representative works are Yue Ji compiled by Gongsunni in the 5th century BC (about 498 BC) and Yue Lun written by Xunzi in the 3rd century BC (286-238 BC). These two books not only follow Confucius' basic view of music, but also extensively expound the relationship between music and things (material world), politics (political thought), emotion (emotion) and other categories, and discuss the origin of music and its educational function, as well as the complementary relationship between "music" and "ceremony". His speech is broad and accurate, and his understanding of the essence of music and analysis of the emotional function of music shine with the brilliance of simple materialism. Because Confucianism overemphasizes the social and political function of music and pursues the "neutral" realm of music, that is, impartiality, no urgency and no lightness, and its musical style, this has largely curbed the possibility of music expressing rich and complex emotions and weakened the aesthetic value of music.