Editing History of music (section)

====Qin and Han====
[[File:Shanghai Museum 2006 17-15.jpg|thumb|Two musicians of the [[Eastern Han Dynasty]] (25–220 CE), [[Shanghai Museum]]]]
The [[Qin dynasty]] (221–206 BCE), established by [[Qin Shi Huang]], lasted for only 15 years, but the purported [[Burning of books and burying of scholars|burning of books]] resulted in a substantial loss of previous musical literature.{{sfn|Lam|2001b}} The Qin saw the ''[[guzheng]]'' become a particularly popular instrument; as a more portable and louder zither, it meet the needs of an emerging popular music scene.{{sfn|Lawergren|2000|p=83}}{{refn|Ancient texts attribute the invention of the ''[[guzheng]]'' to the Qin as well, but earlier specimens have been found from the 5th-century BCE.{{sfn|So|Major|2000|p=19}}|group=n}} During the [[Han dynasty]] (202 BCE – 220 CE), there were attempts to reconstruct the music of the Shang and Zhou, as it was now "idealized as perfect".{{sfn|Moore|2009|loc="Classification and Context of Musical Instruments"}}{{sfn|Lam|2001b}} A [[Music Bureau]], the {{transliteration|zh|Yuefu}}, was founded or at its height by at least 120 BCE under [[Emperor Wu of Han]],{{sfn|Birrell|1993|p=xix}}{{refn|There may have been an incipient form of the [[Music Bureau]] ({{transliteration|zh|Yuefu}}) during the Qin dynasty.<ref>{{Cite book |last=Dillon |first=Michael |url={{google books|plainurl=y|id=VA5tKw11K8YC}} |title=China: A Historical and Cultural Dictionary |date=24 February 1998 |publisher=[[Routledge]] |isbn=978-0-7007-0439-2 |location=Farnham |pages=[https://books.google.com/books?id=VA5tKw11K8YC&pg=PA224 224]–[https://books.google.com/books?id=VA5tKw11K8YC&pg=PA225 225]}}</ref> In general, the chronology of the [[Music Bureau]] is unclear and extremely contradictory in ancient records. See {{harvtxt|Birrell|1993|pp=xviii–xx}} for further information|group=n}} and was responsible for collecting folksongs. The purpose of this was twofold; it allowed the Imperial Court to properly understand the thoughts of the common people,{{sfn|Randel|2003|p=[https://books.google.com/books?id=02rFSecPhEsC&pg=PA260 260]}} and it was also an opportunity for the Imperial Court to adapt and manipulate the songs to suit propaganda and political purposes.{{sfn|Moore|2009|loc="Classification and Context of Musical Instruments"}}{{sfn|Lam|2001b}}{{refn|See {{harvtxt|Birrell|1993|pp=xxi–xxiv}} for information on the location and amount of surviving folksongs.|group=n}} Employing ceremonial, entertainment-oriented and military musicians,{{sfn|Furniss|2009|p=23}} the Bureau also performed at a variety of venues, wrote new music, and set music to commissioned poetry by noted figures such as [[Sima Xiangru]].{{sfn|Birrell|1993|p=xx}} The Han dynasty had officially adopted [[Confucianism]] as the state philosophy,{{sfn|Lam|2001b}} and the {{transliteration|zh|ganying}} theories became a dominant philosophy.{{sfn|Brindley|2012|p=192}} In practice, however, many officials ignored or downplayed Confucius's high regard for {{transliteration|zh|yayue}} over {{transliteration|zh|suyue}} music, preferring to engage in the more lively and informal later.{{sfn|Furniss|2009|p=24}} By 7 BCE the Bureau employed 829 musicians; that year [[Emperor Ai of Han|Emperor Ai]] either disbanded or downsized the department,{{sfn|Lam|2001b}}{{sfn|Birrell|1993|p=xx}} due to financial limitations,{{sfn|Lam|2001b}} and the Bureau's increasingly prominent {{transliteration|zh|suyue}} music which conflicted with Confucianism.{{sfn|Furniss|2009|p=23}} The Han dynasty saw a preponderance of foreign musical influences from the [[Middle East]] and [[Central Asia]]: the emerging Silk Road led to the exchange of musical instruments,{{sfn|Moore|2009|loc="Migration and Cultural Exchange"}} and allowed travelers such as [[Zhang Qian]] to relay with new musical genres and techniques.{{sfn|Lam|2001b}} Instruments from said cultural transmission include metal trumpets and instruments similar to the modern [[oboe]] and [[oud]] lute, the latter which became the [[pipa]].{{sfn|Moore|2009|loc="Migration and Cultural Exchange"}} Other preexisting instruments greatly increased in popularity, such as the ''qing'',{{sfn|Guangsheng|2000|p=94}} panpipes,{{sfn|Guangsheng|2000|pp=94–95}} and particularly the ''qin''-zither (or ''guqin''), which was from then on the most revered instrument, associated with good character and morality.<ref name="MET2" />