Chinese Music
Short Description
A text on traditional Chinese music...
Description
Chinese music. Los Angeles, Calif. : Quon-Quon-Co., c1944. http://hdl.handle.net/2027/mdp.39015068761322
2 2 3 1 6 7 8 6 0 5 1 0 9 3 . p d m / 7 2 0 2 / t e n . e l d n a h . l d l e h / g / : o p o t t g h d / p # T e M s G u _ 2 s s 4 : e 6 c 1 c a 6 / g 0 - r o . 4 t 0 - s 4 u r 1 t 0 i 2 h t a n h o . ) w y t i w s w r / e / : v p i t n t h U l l / i G d c e z M ( i t i 2 i l i g e d n e o . l g n o i v o e G k , r i n o a f d m e o t D a r c e i l n b e u G P
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2 2 3 1 6 7 8 6 0 5 1 0 9 3 . p d m / 7 2 0 2 / t e n . e l d n a h . l d l e h / g / : o p o t t g h d / p # T e M s G u _ 2 s s 4 : e 6 c 1 c a 6 / g 0 - r o . 4 t 0 - s 4 u r 1 t 0 i 2 h t a n h o . ) w y t i w s w r / e / : v p i t n t h U l l / i G d c e z M ( i t i 2 i l i g e d n e o . l g n o i v o e G k , r i n o a f d m e o t D a r c e i l n b e u G P
I V
E R
S
1T
O F
M
C H
I GA N
2 2 3 1 6 7 8 6 0 5 1 0 9 3 . p d m / 7 2 0 2 / t e n . e l d n a h . l d l e h / g / : o p o t t g h d / p # T e M s G u _ 2 s s 4 : e 6 c 1 c a 6 / g 0 - r o . 4 t 0 - s 4 u r 1 t 0 i 2 h t a n h o . ) w y t i w s w r / e / : v p i t n t h U l l / i G d c e z M ( i t i 2 i l i g e d n e o . l g n o i v o e G k , r i n o a f d m e o t D a r c e i l n b e u G P
I B
R
A R
I E S
C H
I N
E S
E
MU I
Music—themagnetoffellowship
d i t e d froa n d C o p yirg h t e d,1944
by
Q U O N - Q U O N C O M PA N
otAngeles,Calif.
2 2 3 1 6 7 8 6 0 5 1 0 9 3 . p d m / 7 2 0 2 / t e n . e l d n a h . l d l e h / g / : o p o t t g h d / p # T e M s G u _ 2 s s 4 : e 6 c 1 c a 6 / g 0 - r o . 4 t 0 - s 4 u r 1 t 0 i 2 h t a n h o . ) w y t i w s w r / e / : v p i t n t h U l l / i G d c e z M ( i t i 2 i l i g e d n e o . l g n o i v o e G k , r i n o a f d m e o t D a r c e i l n b e u G P
PageTwo
2 2 3 1 6 7 8 6 0 5 1 0 9 3 . p d m / 7 2 0 2 / t e n . e l d n a h . l d l e h / g / : o p o t t g h d / p # T e M s G u _ 2 s s 4 : e 6 c 1 c a 6 / g 0 - r o . 4 t 0 - s 4 u r 1 t 0 i 2 h t a n h o . ) w y t i w s w r / e / : v p i t n t h U l l / i G d c e z M ( i t i 2 i l i g e d n e o . l g n o i v o e G k , r i n o a f d m e o t D a r c e i l n b e u G P
//Z ^ TH E
I N
O L D
S T MU
TH E W O R L
Mere lylegen dary
withreluctance
I C
D.
isaphrasew hichsh o u l d b e wirt t e n
toooften,withregardtotraditional
material,suchacommenthasbeenacceptedasade
indis
u a l i fc a toi n a n d d i m s issa l.
haveth ee
uate
n t h i s c o n e cito n , w e
a m p l euf r n i h s e d b y t h e sot r y o f t h e oirg i n o f
hinesemusic.
Theleg endruns thatthe
2697B.C
m p e rro, H u a n g - t i ( c icr a
.),sen t h i s m i n i tse r ,
Moun tainsinno rthw estChina
i n g -ul n , t o t h e
u e n ln u
t o c u t a p i thc - p i p efrom
aspeciesofbamboowhichgavethenormalpitch-note,
uang-chung.
Probablythetrueraspectofthis min-
isterialmission,however,issuggestedbytherecent
archaeologicaldiscove ryofagreat centerofancient
civilizationinanareacontiguoustonorthwestC
hina,
andstillmorerecentdiscoveriesofrelatedancientcivi-
lizationsdefinitelyrankingascoloniesofthatamazing
center.
l l o f w h ih cleadstoth epointth at
tothe
i n g -ul n
s
o u r nye
uenlunMountainsatthatparticulardatetook
himclosetothecenterand sourceofoneofthegreatest,
highest,andmostancientcivilizationsyetknownto
Man
thatheso u g h t t h e i fno r mtai o n h e r e
PageThree
uiredatth e
2 2 3 1 6 7 8 6 0 5 1 0 9 3 . p d m / 7 2 0 2 / t e n . e l d n a h . l d l e h / g / : o p o t t g h d / p # T e M s G u _ 2 s s 4 : e 6 c 1 c a 6 / g 0 - r o . 4 t 0 - s 4 u r 1 t 0 i 2 h t a n h o . ) w y t i w s w r / e / : v p i t n t h U l l / i G d c e z M ( i t i 2 i l i g e d n e o . l g n o i v o e G k , r i n o a f d m e o t D a r c e i l n b e u G P
spotwherehewaslikeliestto findit— anddidfindit.
urther,itmaybesuggestedthat,somewhereonthe
south e r n f aeco f t h e
uenlu n s i n o l d C h i n a , t h eer m a y
yetbeunearthedonemoreoutpostof thatancient
culturetoaffordonemoreproofthat theC
hinesewere
andarethecontinuingheirsof muchthatpertainedtoa
h i g h c iivl i z ai to n w h ihc e
istedbe y o n d 50 0 B . C . , a n d
didnotneedto gobeyondtheconfinesoftheirempire
fortheirmusic— theoldestintheworld.
ung-lunreturnedwiththepitch-pipe
thepoeticC
and,while
hinesestoryisthatpipes werethenevolved
which,whenblowninto,wouldgiveforththenotesof
themaleandfemalePhoeni
rankssohighlyinC
,thatlegendarybirdwhich
hinesemythology,thepracticalfact
isthatthe r e w a s d eevl o pd e s o o n a fet r
i n g -ul n
sreturn
asystemofmusicwhichnotonly constitutesthebasis
ofallmusicin theworldbutwhichindays nowre-
gardedasalmostshadowedinanti
uitysolvedwithac-
curacythemathematicalandphysicalpropertiesof
acoustics,forwhichlatterfactwehavethetestimony
oftheworld
sgreatestauthorityonsound:andthe
developmentwassolelyC hinese.Thereisnothingof
legendaboutthat.TheC
hinesehadthediatonicscale—
comingnowtocomparativelymoderntimes—si
dredye a r s b e froe i t w a s c o m plete din
2 2 3 1 6 7 8 6 0 5 1 0 9 3 . p d m / 7 2 0 2 / t e n . e l d n a h . l d l e h / g / : o p o t t g h d / p # T e M s G u _ 2 s s 4 : e 6 c 1 c a 6 / g 0 - r o . 4 t 0 - s 4 u r 1 t 0 i 2 h t a n h o . ) w y t i w s w r / e / : v p i t n t h U l l / i G d c e z M ( i t i 2 i l i g e d n e o . l g n o i v o e G k , r i n o a f d m e o t D a r c e i l n b e u G P
sol-fasystemwhichwasatleasteighthundredyears
oldwhenC
PageTout
urwenbeganhisin1840.
hun-
urope ,anda
TheancientC
hinesescalehasfivetones:
han g ( D,)C h i a o (
timeofth eC houdyn asty(12
),
u(A).Atthe
-255B.C
thernoteswereadded:Pien-chih(
(B).
ung(C
) , C h i h ( G) , a n d
. ) , t w ouf r -
()andPien-kung
a c h n oet o f t h i s s clae o f f i v e o r s e v e n n oet s c a n
beusedasa primarynote,givingfiveorsevenmodes.A
s
eachofthesefiveorsevenmodes canbetransposedin
twelveways,therearesi
tyoreighty-fourkeysin
hinesemusic.
g
eturn ingforamo menttoth emissio nof
u n g -ul n
andthepipeswhichgavethenotes ofthePhoeni
aretoldth a t t h ee s b i r d s h a d a sa cleofsi
beginningwithwhatweknowasC
fullton estoA;
,we
n o t e ,st h e m a l e
,andascendingin
andthefe male , b e g i n inn g w i t h C s h a r p ,
asce ndedbyfu lltonestoB.A
sthebirdsw e r e b e lei v e d
tosoundthenotesalternately,theyproducedachromatic
scaleoftwelvesemitones.
Pag e
ive
2 2 3 1 6 7 8 6 0 5 1 0 9 3 . p d m / 7 2 0 2 / t e n . e l d n a h . l d l e h / g / : o p o t t g h d / p # T e M s G u _ 2 s s 4 : e 6 c 1 c a 6 / g 0 - r o . 4 t 0 - s 4 u r 1 t 0 i 2 h t a n h o . ) w y t i w s w r / e / : v p i t n t h U l l / i G d c e z M ( i t i 2 i l i g e d n e o . l g n o i v o e G k , r i n o a f d m e o t D a r c e i l n b e u G P
TheveryancientmusicofC
hinaissaidto havebeen
l o s t i n t h e T ihr d C e n t u r y B . C . , w h e n t h e
Tsing-
hiH
m p e roi r
wanghadallrecordsandbooksburnedin
hispurp o s e f lu
d e s tur c t in oo f a l l p r e e c d e nst
h a s p r ee srve d i m p otra n t w o rks,an din
"
butChina
o T s z t h e r esi a
descriptionofanancientformofworshipof heaven
andearthinwhichtwelveinstrumentsplayedthefol-
lowingnoteswhilevoicessangalternatenotes:
Note
9
bf
n s rt u m e nst
r —i
otesbyVoices
« ^ -f
f
"
b
—
1
Theinstrumentsplayinginthetwelvedifferentscales
ascendedinaprogressionofperfectfourths,whilethe
voices,alsosingingthetwelvedifferentscales,descended
inperfectfifths:allthis inthemannerofthe Phoeni
ofpoesyandwonder-tale.
Despitetheactivitiesofthedestroyerof precedents,
weknowthat,priortothe timeofC
ine
onfucius,therewere
isten ce:
ThetwelvesemitonescomprisinganO ctave
Thefivenotesofthe ancientPentatonicscale
ightdifferentsound-producinginstruments
i
2 2 3 1 6 7 8 6 0 5 1 0 9 3 . p d m / 7 2 0 2 / t e n . e l d n a h . l d l e h / g / : o p o t t g h d / p # T e M s G u _ 2 s s 4 : e 6 c 1 c a 6 / g 0 - r o . 4 t 0 - s 4 u r 1 t 0 i 2 h t a n h o . ) w y t i w s w r / e / : v p i t n t h U l l / i G d c e z M ( i t i 2 i l i g e d n e o . l g n o i v o e G k , r i n o a f d m e o t D a r c e i l n b e u G P
differentcerem onialdanceswithmusicalaccom-
paniment.
P ag e
i
urther,weknowthatmusicwasoneof theartsessen-
tialthentorecognizedculturein theindividual
tha t
theproperagefora boytobeginthestudyof musicwas
thirteenyears
thattherewerenationalteachersofmusic.
onfuciusaccompan iedhisownsongsinstrumentally.
Themosthighly
ualifiedauthoritiesareagreedthat
initscharactertheancientmusicof
hinawasofthat
classofmusicwhichisthe magnetoffellowship—music
oftheheart,gentle,hopeful,
uesting,grieving,endur-
ing—the musicofthekinandclan inlonelyplaces,
inseparablefromitstwinofthe humanspirit,poetry.
nlaterandmorecloselyorganizedlife ofthepeople,
ritualandceremonialfoundtheplacewhichtheyhave
alwa ysfoun d
m u s iacl i n s tur m e n tsofcom ple
removedfromtheprimitivepipesof
evolved
ityfar
ing-lunwere
theancientandnaturalsweetnessofthefolk-
songgaveplacetothedesignedand theblatantincere-
monial—thedifferencebetwentheattractionofthe
groupthatisin naturalhumanharmonyandthemass
thatmustbedrawnanddominated.
hinesemusiciswrittenbymeansof verticalrowsof
characters,withsignsdenotingrestsorpauses.N
otes
areflattedorsharpedas necessary,buttherearenever
morethanfourteensoundsinanycomposition.
imple
commontimeandcompoundtimearebothused
the
2 2 3 1 6 7 8 6 0 5 1 0 9 3 . p d m / 7 2 0 2 / t e n . e l d n a h . l d l e h / g / : o p o t t g h d / p # T e M s G u _ 2 s s 4 : e 6 c 1 c a 6 / g 0 - r o . 4 t 0 - s 4 u r 1 t 0 i 2 h t a n h o . ) w y t i w s w r / e / : v p i t n t h U l l / i G d c e z M ( i t i 2 i l i g e d n e o . l g n o i v o e G k , r i n o a f d m e o t D a r c e i l n b e u G P
timema rksareX (pan)a n d a c i r cel O
(yen ) , t h e f i r ts
atthesideof theaccentednote,thesecondattheside of
Pag e
eve n
theunaccented.Other timemarksarefound,anydefi-
nitesystemintheiremploymentbeingverydifficultto
determine.v
Theperformersofvocalmusicgenerallyuseahigh,
headvoice,anasalfalsetto,singingwiththe
voice,whilee
closed
pressingbyevolutions,movementsand
attitudeswhatthevoiceandinstrumentssay.Thereare
noharm onize dtunesinChinesemu sic
publishedinC
yetthe rewas
hinain1525a bookinwhichtherudi-
mentsofharmonyweregiven.Theideaofharmony,it
issaid,camefrom
thebarbaroushordesofthenorth.
Moreprobably,itcamefromthenorthwest,andfrom
peoplesfarfrombarbarous,aswehaveseen.
smattersstand,C
hinaalreadypossessesvoluminous
musicalrecordsdatingbackovertwothousandyears,a
factbefittingtheMotherofMusic
therearenosuch
recordselsewhereintheworld.TheDictionaryofMusic,
oTien,aremarkableworkpublishedin1544,records
thatTow
ung,ablindmusician,presentedtothe
m p eor r H i a o W e n - t i , i n A . D . 4 7 1 , a b okoc o n t a ining
themathematicaltableofthetwelvesemitonesand
modulator
itwasoneof thebookswhichescapedthe
destructivefuryofthezealotwho,inthe ThirdC
entury
. C . , s o u g h t t o wpi e c l e a ntheslateo fthepastan d
beginthelifeof
hinaanew.
2 2 3 1 6 7 8 6 0 5 1 0 9 3 . p d m / 7 2 0 2 / t e n . e l d n a h . l d l e h / g / : o p o t t g h d / p # T e M s G u _ 2 s s 4 : e 6 c 1 c a 6 / g 0 - r o . 4 t 0 - s 4 u r 1 t 0 i 2 h t a n h o . ) w y t i w s w r / e / : v p i t n t h U l l / i G d c e z M ( i t i 2 i l i g e d n e o . l g n o i v o e G k , r i n o a f d m e o t D a r c e i l n b e u G P
Themodulatorreferredtoishistoricin itsimport-
Pag e
i g ht
ance .
tistheoldsca leofseve n n o t e s wtih t h e s e m i-
tonesbetweenthefourthandfifth,identicalin princi-
p l e w i t h te hC u r w e n m o d ual t o r o f 1 8 40.
ise
t a n t t h eer c o r d o ftheworko f
diedin8
B.C
R
e ( D) , 7 2
ien,wh o
. H e g a v e t h e ln eg t h o f t h e p i t c hp- i p e s fro
producingthefivenotesoftheC
81
urthe r,there
z-Ma -Ch
hinesescale:Do(C
Mi(),64
),
o lG ( ,) 5 4
a(A),4 8.
tartingwith81,andsubtractingone-thirdandadding
one-thirdalternately,hefoundthevaluebyfifths.The
scho l a r s o f t h e H a n d y n a tsy ( 2 0 6 B . C
. - A . D . 1 9 0 ) , uesd
thesamerulein developingthetwelvesemitones,and
weuseitin reckoningvibrationsandintuningbyfifths.
TheC
hineseinthosedistantdayswereaware,also,of
thedifferencebetweenapipeandastring producing
thesamesound.
tisclaim edthattheWestwo u l d h a v eof u n d i t e slfin
naturalkinshipwiththatveryancientmusic,andgreater
understanding.Thereisgoodgroundfortheclaim.The
PentatonicscaleofancientC hina,uponwhichC
hinese
nativeairsareforthe greaterpartfounded,notonlycon-
stitutesthebasisofall themusicoftheW
est—a modern
thingascomparedwiththatofC
hina—butis
o f t h e m u isc o f t h e A m e r i c a n
ndiana ndofallAfrica
alongthewidee
a n cei n t
thebasis
uatorialbeltwhichstretchesfromthe
u n g l-ec h o k e d C h i n e s e c iyt o n t h e i s l a ndof
2 2 3 1 6 7 8 6 0 5 1 0 9 3 . p d m / 7 2 0 2 / t e n . e l d n a h . l d l e h / g / : o p o t t g h d / p # T e M s G u _ 2 s s 4 : e 6 c 1 c a 6 / g 0 - r o . 4 t 0 - s 4 u r 1 t 0 i 2 h t a n h o . ) w y t i w s w r / e / : v p i t n t h U l l / i G d c e z M ( i t i 2 i l i g e d n e o . l g n o i v o e G k , r i n o a f d m e o t D a r c e i l n b e u G P
Mafiao f f t h e c osat n e a r Z a n z i b a,rt o t h e
grave
Whiteman
oftheWesternse aboa r d o f A f r ia c.
PageNine
s
tone
nstru ment
PageTen
2 2 3 1 6 7 8 6 0 5 1 0 9 3 . p d m / 7 2 0 2 / t e n . e l d n a h . l d l e h / g / : o p o t t g h d / p # T e M s G u _ 2 s s 4 : e 6 c 1 c a 6 / g 0 - r o . 4 t 0 - s 4 u r 1 t 0 i 2 h t a n h o . ) w y t i w s w r / e / : v p i t n t h U l l / i G d c e z M ( i t i 2 i l i g e d n e o . l g n o i v o e G k , r i n o a f d m e o t D a r c e i l n b e u G P
C H I N E S E
MU
I C A L
N S TR UM N T
Thereare130kindsof musicalinstrumentsinC
hina.
Thatfigureisinclusiveofsome ofcomparativelyrecent
type,severalofwhichshowcertainadaptationsofO
d e n tlai d e a s .
ntheolde rlists,sp e c iifc a lyl C
find72,dividedintoeightcategories
cci-
h i n ees, w e
butmanyofthese
olderformsarenolongeri nuse.Theeightdivisionsare:
1.
tone—Chimesandpra y e r - tso n e s o f s o n o ru os
stone.
2.Metal—B
ells,gongs,gong-chimes,cymbals,trum-
pets.
3.
t r i n gd e— L
u t e , p slat e r ,yb a l l o n g u i t a r , t h r e-e
stringedguitar,moonguitar,four-stringedviolin,
two-stringedviolin,harpsichord.dU><
4.B
-t<
amboo—Pandeanpipes,ceremonialflute,com-
monflute,smallflute,clarionet.
5.Wood—S
o n oor u s b o
, m u s iacl t i g e,rc a s t a n e t ,s
woodenfish.
6.
kin—L
argeba r r e ld- r u m , m s a l l b arre l - d rum,
rattle-drum,flat-drum.
7 . G o udr — R
eedorg an.
8.Clay—O
c a rni a .
Pag e
lee vn
2 2 3 1 6 7 8 6 0 5 1 0 9 3 . p d m / 7 2 0 2 / t e n . e l d n a h . l d l e h / g / : o p o t t g h d / p # T e M s G u _ 2 s s 4 : e 6 c 1 c a 6 / g 0 - r o . 4 t 0 - s 4 u r 1 t 0 i 2 h t a n h o . ) w y t i w s w r / e / : v p i t n t h U l l / i G d c e z M ( i t i 2 i l i g e d n e o . l g n o i v o e G k , r i n o a f d m e o t D a r c e i l n b e u G P
TheC
hinese,inmakinganden
oyingtheirmusic,hear
morethanthenoteproducedbythe instrument.
the
tis
ualityo fanoldpeo plethatw i t h t h e h erai n g o f t h e
notetherecomestothemfull realizationofitssignifi-
canceinmentalpictureandinspiritual appreciation.
Thereismorein musicthantheen
narcotismofsoundassuch,tothe
oymentorsheer
hinese,forthecen-
turiesduringwhichpoetryandmusicwereoneto them
weremanycenturies,andtheywereaveryold civiliza-
tionbeforethePolarice-caphadthawedcompletelyfrom
thefaceoftheW
esternearth.
venintheirphysicalforms,themusicalinstruments
ofC
e
hinahavebeengivensymbolicsignificance.
a m pel , t h e
Phoe ni
or
heng(redorga n ) i s e m bel m aitc o f t h e
. T h e c apr e n tre
ss
u a r e i s t y ipf i e d i n t h esound -
ing-stone,whichalsosignifiesthelifeofcare anddis-
cretion,
usticeanduprightness.Theguitarwasshaped
inhonoro fthemoon .
n t h e l u t e t hree i s t h e s y m bol
ofmatrimonialharmony.A ndthefluteis theemblem
ofoneofthe
TheC
ight
m m otra l s , H a n H
s i a n -gt z u .
hinesemademusicfrommanythings.O
findsinstrumentsof
ne
ade,tortoise-shell,redivory,the
barkofthebeechtrees,the coconut,andevenofcertain
l e a vse.
tisrecord e d t h a t H w a n g -it( 2 3 5 3 B . C
.),had
thelyre,thelute,and stringedinstrumentsoffromfive
2 2 3 1 6 7 8 6 0 5 1 0 9 3 . p d m / 7 2 0 2 / t e n . e l d n a h . l d l e h / g / : o p o t t g h d / p # T e M s G u _ 2 s s 4 : e 6 c 1 c a 6 / g 0 - r o . 4 t 0 - s 4 u r 1 t 0 i 2 h t a n h o . ) w y t i w s w r / e / : v p i t n t h U l l / i G d c e z M ( i t i 2 i l i g e d n e o . l g n o i v o e G k , r i n o a f d m e o t D a r c e i l n b e u G P
tofiftystrings
PageTwelve
inwhichconnection,wereferthereader
2 2 3 1 6 7 8 6 0 5 1 0 9 3 . p d m / 7 2 0 2 / t e n . e l d n a h . l d l e h / g / : o p o t t g h d / p # T e M s G u _ 2 s s 4 : e 6 c 1 c a 6 / g 0 - r o . 4 t 0 - s 4 u r 1 t 0 i 2 h t a n h o . ) w y t i w s w r / e / : v p i t n t h U l l / i G d c e z M ( i t i 2 i l i g e d n e o . l g n o i v o e G k , r i n o a f d m e o t D a r c e i l n b e u G P
totheopeningparagraphofthis booklet,inwhichhas
beensuggestedthesuddendiscoverybytheheartof
hinaoftheresourcesandadvancesincultureactually
e
istingwithintheremoteareasofher ownempire,the
landsbeyondtheranges.
ThedivisionofC
hinesemusicintosacredandsecular
classestookplaceofficiallyduringthe
uidynasty(A
589-618).MusicfortheatricalpurposesinC
.D.
hinahasa
historywhichvanishesinthelostages, andorganized
performances,whichappeare daboutA
.D.720,are
thereforecomparativelymodern .Dramacametothe
forein1280,andthe inseparablemusicfromitwas
givenaplaceofgreaterprominencebythe evolutionof
hineseopera,notyetunderstoodbytheW
est.The
operadependsalmostwhollyuponthemake-upofthe
actor
hiseverygesture,eventotheslightestmovement
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