The problem with ancient music is that, although there are pictographs and remnants of instruments from that time period - know one knows exactly what pitch strings were tuned to, how/what rhythms were performed - there was no standardized notation. Even in western history music notation wasn’t standardized until the 15th - 16th centuries.
The ancient Greeks left written documents about the affect of different modes (major/minor/Phrygian modes, etc) on human emotions but there are several schools of thought on exactly how all this is to be interpreted.
We’re not even sure exactly how ancient Gregorian Chant is to be performed (Catholic music that dates back to between 4th and 9th centuries AD). Tradition and some written treatises give us a good idea of how some of this music is supposed to be performed, but a lot of it is a “best educated guess”.
Of course, archeologists are always turning up new finds that sometimes sheds light on such things abs so I may be ignorant of latest developments.
Do understand that, and was quite impressed that it was possible to separate the antique Chinese music from the more recent works with Western influence. Just don’t have the ear to separate the Egyptian music since none of what I was hearing had a European flavor in the mix.
There’s so much antique Chinese art commentary that there has to be an equal amount of music commentary. We all had to have research languages along with the art. I took French when my science Russian wouldn’t make it, but I did know people who were brave enough to tackle the Chinese characters. This research is reminding me why the calligraphy was art.
For Gregorian Chant, I have Benedicta from the Monks of Morcia album and Thomas Tallis’ Spem in Alium and Complete English Anthems. Once I go back to Medieval, I’ll use something from those. Any other Gregorian suggestions much appreciated.
What you assert may be correct but aren't you so very pleased what has been done in an effort to understand it; I know I Am.