The philosophy of Chinese Confucian music takes the metaphysics which is “Dao” (道)as its basis and its source. In the physical world, the philosophy of Chinese Confucian music and “Li”(禮)together are known as principles. The dependence of the music and the ability to feel and use the music are what people born with. As a form of communication or a form of media, the role of music contains the harmonious relationships of “people and themselves,” ”people and nature,” and “people and the others,” to help people achieves a higher level of the human mind. By playing its role, music points towards the ultimate concern and then return to the realm of unity of “Tian”(天)and ” Ren”(人)in the metaphysical world. Nevertheless, it's not a rift between metaphysics and physics, but a process. Chen Yang’s Yue Shu confirmed the basic proposition in the philosophy of Chinese Confucian music about “Harmony” (和) with commentary of classic. Chen Yang’s investigated and collected folk music and foreign music, and then he wrote an encyclopedia about the music in Ancient China. To reframe the content of the philosophy of Chinese Confucian music, the present writer researched into Chen Yang’s Yue Shu and put it up for discussion from a philosophical point of view: (a) The Metaphysical Dimensions of Music: The definition of music, essence, form, the beginning, and its roots; (b) The Aesthetic Dimensions of Music: The concept of basic music theory, and the appreciation standard shaped by the historical and cultural influences, and critical theory; (c) The Axiological Dimensions of Music: The dimensions of ethics and aesthetics, which includes topics such as the moral theory of music, religious theory of music, political theory of music, educational theory of music, and some points of view whose desired results is to return to the realm of unity of “Tian”(天)and ” Ren”(人), such as “Harmony equal Beauty”(中和為美)and “Beauty and Goodness are unified” (美善同一)in Confucianism. In the end, “Harmony”(和) is presented as a theme running through the text of the philosophy of Chinese Confucian music in Chen Yang’s Yue Shu. The present writer reexamined and reviewed the limitation and the disadvantage of Chen Yang’s Yue Shu regarded as the philosophy of Chinese Confucian music, and then tried to present the advantage and the usable parts of Chen Yang’s Yue Shu. In this way the present writer reconnected the music theory and the practice to prevent metaphysics and physics from rifts occurring, and reframed the philosophy of Chinese Confucian music in Chen Yang’s Yue Shu.