After the legendary event of “restoring the normal humangods relationship” in remote antiquity, the “music” of ancient China underwent a certain change due to people’s different way of serving gods, nevertheless, the aim of musical activities remained the same, namely to please gods in the hope of “fortune.” By the transitional period between the Shang and Zhou Dynasties, “music” as a kind of human civilizing activity experienced a dramatic change due to the awakening of moral consciousness, for the Zhou people consciously introduced moral connotation into musical performance and in doing so related “fortune” seeking to “virtue” valuing and manifesting. While the introduction of “morality” differentiated the “ceremony” and “music” before and after the Zhou Dynasty fundamentally, the introduction of “benevolence” by Confucius changed furthermore the connotation of “morality” put forward in the early Zhou Dynasty. The “ceremony” and “music” advocated by Confucius were thus no longer those initially formulated by Duke Zhou. Since Confucius’ time, “music” was given the value of cultivating “benevolence” with “moralityoriented melody.” If we take “scripture” as the expression of “Tao” itself, it may be safe to say that “music,” as one of the “Six Arts,” is a classical “scripture” too, for it has its own “Tao,” which was paved by Confucius and whose rich connotation were elucidated by Confucius’ 70 disciples, by Mencius and Xunzi, and by Confucians of the early Han dynasty. The coming into being of Commentary on Music marks an accomplishment of these continuous efforts of elucidation, and the book’s name just indicates an acknowledgement of “music” as a classical “scripture,” although this “scripture” can be found in no written forms, for according to the ancient Chinese academic tradition, a “scripture” often acquires its classical status by gaining for itself a “commentary.”