The formation of a theoretical discourse for traditional Chinese music necessitates reference the mature Western framework,representing an acknowledgment of the systematic development within Western music academia.With a distinct developmental trajectory spanning thousands of years,traditional Chinese music culture is best understood within its historical context from both artistic and cultural perspectives,must differentiate the two principal strands of ritual(礼)and secular(俗)music within the “unity of governance and music” civilization.This system was characterized by ritualistic and non-ritualistic emotional appeals,diverse functionalities,leadership from state-sponsored music,integration of foreign ensembles,and a comprehensive system for creation,maintenance,and performance guaranteed by institutions,administrative bodies,and the household registry system.Having progressed from disparate tribes,settlements,and fang-states to a unified nation,Chinese music culture transitioned from multiplicity to unity.This structure,characterized by an “integrated plurality” and dynamic interaction between state and local levels under the national framework,demonstrates both a coherent identity and regional diversity.Consequently,building a theoretical discourse for this tradition must capture the unique essence of its musical substance and cultural totality.The Western academic experience serves as a valuable reference point in this endeavor,facilitating deeper intellectual engagement and comprehension.