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On October 5, 191 1, the Qing court announced the newly composed national anthem, Gongjiriou lᶠeiS Strengthening our hold on the golden cup. Within six days, the revolution broke out and within a few months the dynasty had ceased to exist. The expression wangguo zhiyin t ffl/W) 'sound of a doomed state', comes from the yueji ^|B section of the Book of Rites, devoted to music. It might be translated more freely 'the death knell of a dynasty. It became a common expression throughout Chinese history, and was used to refer to the decadent style of music that comes into vogue towards the end of a dynasty. In the case of the Qing national anthem, the term wangguo zhiyin can be taken literally, as we just saw. This article concentrates on the criticism of the anthem's musical score made by a prominent court musician, Cao Xinquan W;L^« Cao was thoroughly familiar with the traditional Confucian view of music based upon principles expounded in the Book of Rites. He argued that the anthem ignored those principles and hastened the demise of the dynasty. His suggested revision of the anthem exemplifies the concept that the primary function of music is moral education, not entertainment.
Ye et al. (Thu,) studied this question.