m CORNELL UNIVERSITY LIBRARY 3 1924 067 290 001 CHINA. IMPERIAL MARITIME CUSTOMS. 1 1. -SPECIAL SERIES: No. 6. G H I N E S E M U S I C J. A. VAN AALST (Chinese Imperial Customs Sermce). '^m^ PUBLISHED BY ORDER OF ,: .. SHANGHAI: . PUBLISHED AT THE STATISTICAL "DEPARTMENT OP THE INSPECTORATE GENERAL' OP CUSTOMS, ,. - AND SOLD BY ...'--'^--- , ■■'* > , Messbs. KKLLT & WALSH, SHANGHAI, YOKOHAMA, AND HONGKONG. T -,;y ' T'. -JjONDON : p. s, king & son, canada building, king street, Westminster, s.w. '¥a Cornell University Library The original of this book is in the Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31924067290001 o pq o o pq iA ■J.i fen -1 EH CHINA. IMPERIAL MARITIME CUSTOMS. I. -SPECIAL SERIES: No. 6. CHINESE MUSIC. BT J. A. VAN AALST (Chinese Impericd CustoTns Service). PUBLISHED BY ORDER OF SHANGHAI : PUBLISHED AT THE STATISTICAL DEPAETMENT OF THE INSPECTORATE GENERAL OF CUSTOM.': AND SOLD BY Messrs. KELLY & WALSH, SHANGHAI, YOKOHAMA, AND HONGKONG. LONDON : p. s. king & SON, Canada building, king street, Westminster, s.w. INTRODUCTION. The Chinese have the reputation of being a strange people, with a peculiar language, peculiar institutions, customs, and manners, utterly dififerent from those of our Western countries. Since Chinese ports were thrown open to foreigners, the influx of visitors of all kinds has continually" increased. Missionaries, diplomats, travellers — some led there by duty, others attracted by the prospect of a new field for studies, and others guided by mere curiosity — have crossed the country in all directions. From these visits has resulted a large number of books — relations of travels, descriptions of country, customs, and manners — books on any subject, all tending to acquaint Western nations with the wonderful Celestial Empire, and, principally, to point out the immense difference existing between Chinese and European ideas. Amongst the subjects which have been treated with the least success by foreign writers, Chinese Music ranks prominently. If men- tioned at all in their books, it is simply to remark that "it is detestable, noisy, monotonous ; that it hopelessly outrages our Western notions of music," etc. I do not wish to create any discussions by contradicting these and many other erroneous statements found in descriptions of Chinese Music : it would take too long a time. In the description I give here I will endeavour to point out the contrasts or similarity between Western and Chinese Music, to present abstruse theories in the least tiresome way, to add details never before published, and to give a short yet concise account of Chinese Music. IV CHINESE MUSIC. I am not pretentious enough to think that my work will be utterly irreproachable. Mistakes are so easily made ; and if I have just alluded to the many mistakes which are found in books, it is merely with the intention of showing how careful we must be when writing, and, much more, how indulgent we need be towards the writings of others. I should deem it unfair not to mention that Mr. Hippisley, one of our Commissioners of Customs, is entitled to my most sincere gratitude for his kindness in reading the manuscript and correcting the many faults which ordinarily slip from one's pen when attempting to write in any but one's own language. J. A. VAN AAL.ST. CHINESE MUSIC. ON ANCIENT MUSIC. The origin of music may from its nature be attributed to times coeval with the appearance of man on earth. Indeed, what is music ? Listen to the accents of Nature ! Hear the murmur of streams, the whisper of trees' leaves, the moaning of winds, the distant rolling of thunder, the resounding majesty of the ocean ! Notice the bleating of the timid sheep, the lowing of herds, the singiag of the lark, the animated cadence of the nightingale ! What are all those voices but music, but a concert — a hymn which impresses the soul and elevates it to the ideal of infinite beauty ? When man began to contemplate the vast universe, his attention was naturally directed to harmonious Nature. The singing of birds, above aU, must have deeply impressed him and led him to vocal imitation. In the course of time he contrived to combine the natural sounds of his voice into a system, to arrange them into melodies agreeable to the ear, and, finally, to make instnmients by which the melodies could be rendered. Mythology shows us Oephetjs, on the Thracian mountains, submitting the forest monsters to the power of his lyre; Abion escaping submersion; Amphion building cities. If we open the annals of history we find Ftj Hsi playing on the ch'in ; Timotheus subjugating Aiexaxdek ; the rustic Spartans proscribing every art except music ; the same Spartans, often defeated, led to victory by the songs of the Athenian Tybt^us. In the Holy Scriptures we are told of TtJBAi Cain, the sixth descendant from Cain, manufacturing instruments; of Moses singing a hynm with accompaniment of timbrels, after the passage of the Red Sea ; and of King David playing on the harp. The Egyptian history mentions Ptolemy Pheladelphus employing a band of 600 musicians to celebrate the feast of Bacchus ; and Ptolemy Auletes, or the flute- player, competing in his own palace with the greatest professional musicians. Indeed, no nation on earth has existed that did not love that enchanting art, however rude and artless the primitive systems may have been. It is everywhere an instinct of Nature, a want of the soul ; it is found in the camps, in the forests, in the gilded palaces of the despots of the East, in the meadows of America ; it cheers solitude ; it charms society ; it animates at the same time war and pastoral life. The Greeks, the Chinese, and aU the ancient nations speak of the mysterious influence of music; and stiQ their systems, if compared with ours, were only imperfect embryos. But it cannot be denied that the national music of every country, however simple it may be, has a mystic influence on the passions of its inhabitants ; some airs are principally capable of raising or depressing the spirits, of causing an electrical commotion in the hearts of the auditors. Great discussions have arisen on the subject of Ancient Music, but, in spite of many learned researches, commentaries, and theories, we cannot boast of knowing much about it ; and 1 2 CHINESE MUSIC. many a brave man is still racking his brains, and will succumb before having resolved th& question and having learned more on the subject than what has been handed down to us by Ptolemjeus, Plutarch, and Plato. From what we know of Greek music we can infer that it was simply a system for regulating the movements of dances, pantomimes, and poetry; so the mysterious influence spoken of may have been due more to the words and gestures than to the sounds themselves; The Greeks had several gamuts with an irregular distribution of intervals. Of those gamuts, some were used for music of a solemn character ; some were adapted to merry, lively, martial music; and some others to music of a soft and pathetic character. As for the notation, the alphabetical letters alone were used ; harmony, modulation, and even melody (as we understand it) were unknown. Their music was divided into three principal kinds : the efifxiXeia, or church music; the ctIkivvk, for grotesque occasions; and the KopSa^, for dancing. All this is equally applicable to Chinese music, as wiU be shown hereafter. Music is in principle romantic and fanciful, and therefore it is closely related to religion. Everywhere where polytheism or idolatry has existed we find music occupying only a subordinate position, the highest rank being given to the plastic art — to sculpture; whereas among the nations whose worship was of a more spiritual character we find music occupying the first place. Indeed, the Hebrews, although often tainted with idolatry, possessed the most advanced system of their time ; and the Chinese worshippers of Shang-ti have a kind of music unknown to the adherents of Buddha and Tao. On the other hand, the uncivilised, idolatrous nations have scarcely any musical system. It is an uncontested fact that music has gradually risen and progressed with Christianity. Through its character of ineffable spiritualism, the art of sounds alone was able to render the Christian idea of an uncreated God. Antiquity appealed to the plastic arts for representations of its gods, because those gods never ceased to affect the forms and passions of humanity ; but a religion of abnegation and mystic contemplation required as interpreter an art whose aspiration is unbounded, whose element is impalpable, as music. During the first three centuries of our era, ^yhen Christians were exposed to persecu- tions and had to conceal themselves to pray, music had of course but little place in worship ; but in the 4th century, when Christian perseverance had overpowered the cruel paganism, Ambrosius, archbishop of MUan, adopted four of the Greek gamuts for the liturgical music of the church. Some additions to the number of scales were made \ij Pope GREGORy during the 6th century ; but the greatest improvements, principally the system of notation on a stave, are due to GuiDO d'Arezzo, a Benedictine monk of the nth century. It was only duriag the 13th century that harmonic chords first came into use; until then singing was all in unison. But the most important revolution in modern music was effected during the last years of the 17th century, when the two great divisions, major and minor, were introduced. Since then our system has continually progressed, and all the mysteries of the world of sounds have been brought to light. CHINESE MUSIC. 3 Our present complicated system of music is tlius comparatively modem. If ancient music exercised a magic influence on its hearers, what shall we say of our modern art, which elevates its admirers to the highest pitch of idealism to which imagination can be brought; whose romance transports us out of our spheres, out of the Umited circle of our knowledge ; whose accents make us shed tears when the subject is sad, tremble when it is terrible, love when it is tender, admire when it is great, adore when it is divine ? This accounts for the irresistible attraction exercised by music on those feminine, weak, timid natures, which a continual musing elevates above the tribulations of this world. Woman, endowed with the most exquisite feeling of sensitiveness, loves music with passion, because, like her, it softens the manners, disarms force by grace, briags nearer and binds together the different elements of society. It also accounts for the instinctive aversion felt by those positive minds, those unbelievers, who consider music as an organised row, a kind of noise submitted to the most delirious rules and expressed by means of an artillery of instruments called pianos, trombones, comets, etc., which, they say, are best adapted to drive one mad or to make one appreciate surdity. Fortunately for the fine arts, this unfeehng part of mankind is by far the smallest, and their indifference hardly affects the enthusiasm of others. Plato says that music affected considerably the constitution of the State; Confucius was of the same opinion. Indeed, aU skHful politicians, all wise rulers, are aware that they must not look upon their subjects as abstractions, moving them about like the pawns on a chess-board, without considering that men have senses ; that these senses create passions ; that the science of governing men is simply the science of guiding their feelings; that the basis of all human institutions rests on pubHc and private customs ; and that the fine arts are essentially of a moral character, since they render the man who cultivates them better and happier. And what is health but the essence of happiness, the result of internal contentment, the peaceful feehngs of the soul manifested on the exterior envelope of man. This dissertation may seem out of place in an article on Chinese music. Nevertheless it is a fact that the Chinese have had the very same ideas; and this consideration, taken in connexion with several astonishing similarities between all the ancient systems, wiU re-enforce the belief of music's common origin. CHINESE MUSIC. ON CHINESE MUSIC. Music in China has undoubtedly been known since the remotest antiquity. It is said to have been invented by the Emperor Fu Hsi (B.C. 2852) ; but the invention of music can scarcely be attributed to anybody. The revelation of it must have proceeded from man's admiration of Nature. It is, say the Chmese, the essence of the harmony existing between heaven, earth, and man ; and since we believe that all human beings come forth from Adam ' and subsequently from Noah, we may reasonably infer that the chiefs of each of the great families carried with them the principles of the then existing music ; these principles, differently influenced by the more or less artistic skiU of the different nations, have formed the various systems, which at first seem diametrically opposed, but which, when compared and deprived of their special and characteristic individuality, show such coincidence, such striking similarities, as to render their common origin indubitable. The first invaders of Chiaa^ certainly brought with them certain notions of music. The aborigines themselves^ had also some kind of musical system, which their conquerors admired and probably mixed with their own. We read in the jg .^ (T'vmg-tien) that the music of the Emperor Fu Hsi was called ^ >$£ (fu-lai) or j3; ^ (li-pen) ; that of the Emperor Shbn Nung, ^ S^ (fii^t'^) or f HE (hsia-mou) ; and that of the Emperor Huang Ti, /^ ^ (hsieri-chih), or the " all-pervading influence."^ What the real meaning of these names was is not known, and they may be compared to the obscure musical terms of the Bible. At that time music was not regulated by any laws ; each Emperor had his own system, and they did not always agree.* Beginning with Huang Ti, " the Yellow Emperor " (B.C. 2697), Chinese music assumes its characteristic form. A certain note is taken' as the base ; sounds are fixed, and receive names ; comparisons are drawn between the notes and the celestial bodies ; music becomes a necessity in the State — a key to good government. Huang Ti hears it.^ To obey the desire of his human nature, he renders it manifest through all the Empire to comply with the wishes of heaven; he practises it, to be in accordance with the rites of propriety; and he establishes it in the Empire, to render the people better and happier. The succeediag Emperors followed the system of Huang Ti, and composed hymns: the great Shun (B.C. 2255) composed the piece called Ta Shao, the very same which, 1,600 years later, so deeply impressed Confucius that for three months " he did not know the taste of meat,"^ — that is, he was so captured by the beauty of the piece that for three months he thought of nothing else. All the philosophers are unanimous in their praise of ancient music ; ■ They were a band of immigrants fighting their way amongst the aborigines, and supposed to have come from the south of the Caspian Sea. ' The Li, the Kwi, and the FSng tribes, remnants of which are said to be still in existence in South China. 3 The j§ ^ (T'ung-tien), or " Complete Dictionary," by ^ fg (Tu Yu), says : f/lt ^ 11 ^ ^ Jj£ ^ B a: ;*:. i* «'i « ^ » ifl^ T as- 1 ^ f^ ^ ^• " See Preface to the ^ ^ tf SS- ^^^'^'^ ^^7^ ■ ^^ Z>- ^ '^ M ^ ^ ^ ^. 'Seemmf^^^ M' chapter i3- ^ M ± ^ J^' Wi ± i^ %fT ± ^ M M, M Z Ki. :k 'M- ' See ffi ^, which says ■ ^ ^ ^ fM ^ 3 M J^ ^ ^ %■ CHINESE MUSIC. 5 it was eminently sweet and harmonious, and produced inexpressible sensations of pleasure in the hearers. Therefore they lament and regret that it has been lost.^ It is most probable that the merits of ancient music consisted chiefly, like that of the Greeks, in regulating the movements of dances and poetry. Indeed, the Chinese idea is that music without poetry is no music at all.^ Music, says the Musical Recorder, proceeds from the heart of man.* The harmony of the heart produces the harmony of the breath, the harmony of the breath produces that of the voice, and the voice is the emblem of the harmony existing between heaven and earth.* According to' Chinese ideas, , music rests on two fundamental principles — the jpf jj^ (sMn-li), or spiritual, immaterial priaciple, and the ^ ^ (ch'i-shu), or substantial form. AH natural productions are represented by unity ; all that requires perfecting at the hands of man is classed under the generic term ^ (wan), plurahty. Unity is above, it is heaven ; pluraht} is below, it is earth. The immaterial principle is above, that is, it is inherent in material bodies, and is considered their 2f; (pen), basis, origin. The material principle is below; it is the J^ (hsing), form or figure of the sMn-li. The form is limited to its proper shape by Jj; (shu), number, and it is subjected to the rule of the sMn-li. Therefore when the material principle of music (that is, the instruments) is clearly and rightly illustrated, the corresponding- spiritual principle (that is, the essence, the soimds of music) becomes perfectly manifest, and the State's affairs are successfully conducted. If all this seems obscure, the fault hes with the Chinese. V Of aU the ancient music nothing remains except the above abstruse theories. The Emperor She Huang-ti (B.C. 246), the destroyer of books, came ; he ordered the annihilation of all books, with the exception of works on medicine, agriculture, and divination. The decree was obeyed as faithfully as possible by an uneducated soldiery, who made it the pretext of domiciliary visits, exactions, and pitiless destruction. Music-books and instruments shared the same fate as every object which could give rise to any remembrance of past times,^ and a long night of ignorance rested on the country, to such an extent that "at the rise of the Han dynasty the great music-master, Chi, whose ancestors had for generations held the same dignity, scarcely remembered anything about music but the noise of tinkling bells and dancers' drums.* Under the subsequent dynasties great efforts were made to revive music. Ancient books and instruments were discovered in the places where they had been concealed at the time of the destruction of books, new books were written, instruments made, but the frequent political changes to which this country has been subject since the beginning of our era has not allowed = ^ ^ s # ^ 4- 3 See ^ |g, chapter 17 of U-chi •• /L "f ' il S 6 A *& 4 4- * i5 fn H"J ^ ^ ^ ii M'J ^ ^ ^ * Si: 3c Jl i: ft- 6 CHINESE MUSIC. of much time being devoted to music. Moreover, the authors who then wrote on the subject of music do not agree in their theories, and their successors have confused the different systems. During the present dynasty the Emperors K'ang Hsi and ' Ch'ien Lung have done much to bring music back to its old splendour, but their efforts cannot be said to have been very successful. A total change has taken place in the ideas of that people which has been every- where represented as unchangeable; they have changed, and so radically that the musical art, which formerly always occupied the place of honour, is now deemed the lowest calling a man can profess. There is stiU in Peking a Board of Music connected with the Board of Eites (just as the Eomans had a college of flute-players), but the officers seem httle anxious to distinguish themselves. Serious music, which according to the classics is considered a necessary complement of education, is totally abandoned. Very few Chinese are able to play on the ch'in, the sheng, or the yiin-lo, and still fewer are acquainted with the theory of the liis. Chinese music must be divided into two different kinds: ritual or sacred music, which is passably sweet, and generally of a minor character ; and the theatrical or popular music. The populace, as every foreigner in China has experienced, delights in the deafening noise of the gong, accompanied by the shrieking tones of the clarionet; and such music requires no scientific study. Who has not met a funeral or a wedding procession where four or five clarionet-players blow their souls out with furious accompaniment of drums and gongs ? Let it not be thought that the present Chinese do not hke music. They do everything in music : they are born, they worship, they marry, and they die in music. Only they do not find it dignified to perform it themselves, not even as "amateurs." The streets are continually paraded by bands of two, three, or four musicians, mostly blind men, who go from gate to gate offering 'their services. Western music is not at all appreciated in China. The Chinaman seems to pity us for being still so far back in this particular line when we have shown our superiority iii all other branches of science. It may be very patriotic for the Chinese to have the best opinion possible of their own music, but it will not prevent foreigners finding it monotonous, noisy, and disagreeable. ON THE LtJS. The lus (!($. g) are a series of bamboo tubes, the longest of which measures 9 inches, and which are supposed to render the 12 chromatic semitones of the octave. The discovery of the liis is somewhat fabulous. Hxjang Ti is reputed to be the inventor ; he arranged them according to the pa-hua} or mysterious symbols of Fu Hsi. ^ Huang Ti sent one of his ministers. Ling Lxjn, to a place called Tahsia (which has been identified with Bactria, the mother of cities, from its unrivalled antiquity and splendour), situated west of ■ The /\ ^[» (pa-lua) are eight diagrams drawn by the Emperor Pu Hsi, and which are used by the Chinese (who believe that they represent the manifold changes which take place in Nature and in the affairs of the world) for purposes of divination. Chaos, or primitive existence, is unity ; . One divided becomes two : — — . From these figures, one whole line and one divided, placed above each other ( — —~ __ __ ^^^^ g^g \ the eight diagrams were formed. (See Moreison's book, " A View of China,'' etc., p. 118.) CHINESE MUSIC. / the K'u^nlun Mountains (the Olympus of China and the supposed source of the fing-shui), to procure bamboo tubes to make the lus. It appears that there is a valley there called Chiehku, where bamboos of regular thickness grow. Ling Lun cut the piece of bamboo which is between two knots, and the sound emitted by this tube he considered as the base, the pitch-key, the tonic.^ He arranged a series of 12 tubes, according to the ideas of his master, and they receiYed the name f^ g (liis) — that is, laws, principles, pitch-pipes. Now, what led the inventor to the division of the octave into twelve semitones, each represented by one lu ? Several versions are given : — i". Some say that he arrived at it by listening to the singing of the PSngs or FSngs (a powerful tribe living south of the Yangtze-kiang),. the voices of the men giving him six demitones and those of the women the remaining six.^ 2°. Others give the same theory with this particular change, that the F^ngs were not human beings, but birds ; the male being called ]§. (f^ng), and the female ^ (huangP Unfortunately for this theory, a third account assures us that these birds were simply imaginary.* 3°. Another writer attributes to the rolling waves of the Yellow River the idea of the first sound. The bamboos growing on its borders were used to render it.^ 4°. Another writer, less poetical but not less positive, is convinced that Ling Lxjn cut his bamboos according to the terms of a triple progression of 12 numbers, as I; 3> 9; 27, 81, etc., which, indeed, exhibit the numerical values of a series of perfect fifths.^ But without questioning to what extent these theories may be acceptable, it is more reasonable to beheve that the discovery of the 12 divisions of the octave was due to simple and natural causes. That the ancient Chinese should notice the difference of pitch between the sounds emitted by tubes of different length is quite natural; that they contrived to find a tube the sound of which corresponded exactly to the fundamental note of the then existing music is not astonishing; that they then became anxious to have tubes corresponding to the other sounds of their scale is quite comprehensible; and that when comparing, blowing, or cutting they discovered the way to the division of the octave into 12 semitones is not at all impossible. The Chinese have always been fond of seeking the similitude or contrasts existing between everything in creation. Between heaven. and earth, they say, there is perfect harmony. Now, 3 is the emblem of heaven, 2 is the symbol of earth.^ If two sounds are in the proportion of 3 to 2, they will harmonise as perfectly as heaven and earth. On this principle a second tube was cut measuring exactly two-thirds of the length of the first tube, and the 2 DouQLAs' "China," p. 162. 3 "Journal of the North-China Branch of the Royal Asiatic Society," No. VIII, 1874, P- 96. * Morrison's Dictionary : character J^. 5 Amiot, " Memories sur les Ohinois." 6 Paul Pbrnt's Dictionary, Part II. 'Theg|*says:^5^1J|i. 8 CHINESE MUSIC. sound rendered was the perfect fifth, which in our Western music is also expressed by the ratio of 3 to 2. The second bamboo being treated on the same principle, produced a third tube measuring exactly two-thirds of the length, and giving a note a perfect fifth higher than that of the second tube. This new sound seeming, too far distant from the first' or fundamental note, the length of the producing tube was doubled (that is, four-thirds of the second tube's whole length was raken instead of two-thirds), and the note became an octave lower. All the tubes were cut on the same principle,^ the relation of 3 to 2 representing the harmony existing between heaven and earth. They engendered one another and always measured two-thirds or four-thirds of the whole length of their generator. The lils were therefore divided into two classes, the [g f^ (yang liis) and the [^ g (yin lils), or males and females, positives and negatives, perfect and imperfect. According to the §, ^ (I King), chaos was divided into two parts, yang answering to male energy, and yin corresponding to the female principle. All that is strong and superior is yang; yin indicates dependence, inferiority. Everything in Nature belongs to one of these two grand categories, from whose combinations and reciprocal action results all that exists or takes place in the universe. The liis i, 3, S, 7, 9, and 11 were considered as yang; the even numbers were classed as yin; but it is well to remark that these distinctions did not at all affect the tones, and were made simply to please the Chinese ideas of the time. Other comparisons were drawn between the 12 liis, the 12 moons, the 12 Chinese hours, etc.^ The first tube, which was considered as the basis, the generator of all the others, received the name ^ ^ (huang-chung). The sound produced by it was named g (Icung), and became the tonic or key-note of a kind of semi-diatonic scale of 12 degrees, nearly identical with our chromatic gamut, the only difference being that our scale is tempered, while that of the Chinese is left untouched. TemperaTnent denotes a small, and to the ear almost imperceptible, deviation from the absolute purity of intervals which compose our scale. It is well known that 12 perfect fifths employed within the space of an octave (like the 12 Chinese sounds) exceed the ratio of the octave, or that of 2 to i, by the ditonic comma, a small interval expressed by the ratio of 531,441 to 524,288. Our ear is so constructed that it cannot endure the excess or deficiency of a whole comma in any interval without being ofiended, and therefore it has been found expedient to diminish each fifth by one-twelfth of the ditonic comma, instead of diminishing only one fifth by the entire comma. That is what we call temperament in Western music, and it is the absence of it that causes some of the Chinese intervals to appear to us either too high or too flat. We will prove mathematically the difference when speaking of the diatonic scale. The following diagram will illustrate the liis, giving their names, the moons, hours, etc., to which they correspond, the musical sounds they emit (supposing huang-chung to give our C), their corresponding notes in our music, etc. The liis follow each other at the interval of half a tone. ■ £ ^ IM ^ ± T ft ^■ CHTNESE MT^STC. No. I. Diagram Illustrating the Lt's. '9' jryon tiStaioa •*%^»^°J^''^ ■y>' ,-i^' ,««' a'Stt*^' ■'^?' .Q. .■^'^ „0." •S^^ oA^' . iftOOl 'l^^ •■inotf t„5- 'tro, '05, \ ^'^ W . s°^ \^ fei. ■-Q, '■'y-n. \. ^■? '??. ^^. 5t ''j a1 "?"' ^.rs; iO v. ^: ^ rSi , 'Of ^<^. X '^^i & ''il'O, 'on. Sen m ox °fthe hour. isti "ote not otkey. J^Ticient Modern Toreigi o -Of ♦>^ ^" #■■ 00 • N*"" of 17 17 ^ lu, litt'H- .lii. .a<^ ^° ^^,e\ c^^-""^ -^>'c? >^. slv*^' 10 'TTTXKSi'E irUSTC No. 2. Diagram showing how the Lus generate one another. \m S ■" ■- .2; i ~ o a o " : M^l — ■ o^--- - o o a> : c/3 u (U CD fco o v^ys cu O lU a ja 4J '^ ^ S C3 ^ rf si OJ ^S5* . O CD " 2 3 .a -2 ^fc a, J as /an] ° 1 « I '-S ^ £ .3 S- -.- 0) = S «>■§ ^ 5 a = ■= i "S -i S S s^ =! o a> d °P X S J o w c? 0) 0) : 1^ ^y^^' % f=4 Q "t-a-Kio-ojQ-a >>53'Ha.ii9-^- " , , -c > jS ^ fl ^ rf = O j3 f a^ era a&-"o^-Wg o S?^ f, a o c a Sj(»°:S (1) ?i.oa'-'--^^_^ iT3:3.2'5 a{liII|«Si-.%oB >: rOJ 4'°'5 "^ ^ ■♦^ :g > =5 a-;^--23 = 3am jjp»— Ka).5^-*^t;3^2a-2T-»j)^ 3 -^^r^-g S '^ " g^e 3 a 5 ^a o" - S-^.^ ^j^ £> t4al 2 5) ^ o § r=.-s a [on] 2 »"3"S^ °i K Si 03 < ^'"-.-5:3 ^ S'S"^ 2tc»^- r 2, .i f," ^ a <» i TcF!^ ~. O pis 5 .-. -^ S^ - ii ^ Ji := to ^ o (p .s ro |s1|iri-~:2|;o| aS-."a^8|2-2|1-^l'?I^S..-.2-».»Q^5-S^ S,£Jj|8-i = j-§3|1o:S'Spgjj^^^|g.-.^ I - = ^-^J =3 ^5^5 -.ai |.» :^j c^o a- «;| a 'qj o ^ "^ o 0) :e 03 a> ■g.2 5>1 a MS^: bo 03 C3 a m '^ 3 il3.a M, ■?.«: s g Co IJ S -.g a a- 03 ^:S "a aO o ..^ — .^ .a J ,- , 03 - ^ *^ a 2 tmn a :^ « fe a .Ti a- aja ,„ _ „t3 j,- ,5--t^ :i ' S'S - S>=a - ; 53 has become almost impossible to form any acceptable conclusion on this subject. Pere Amiot, who died more than a century ago, gives F as the equivalent of huang- chung ; but he says himself in his works that he adopted this key because the strains of his harmonium impressed his Chinese hearers much more when he was playing in the key of F than when he played in any other key. The present pitch approaches our D (60 1| vibrations per second) as nearly as possible. The principal fixed instruments, as the yiln-lo, the sheng, the flute, all give the D as tonic. But, with the view of pointing out in the clearest manner the similarity or contrast of Chinese music to our Western music, I have thought it convenient to give our C as the equivalent of huavg-chung, and to have our natural scale of C in apposition to the Chinese natural scale. 14 CHINESE MUSIC. CHINESE SYSTEM OF NOTATION. The 12 lus, as has been shown before, formed a kind of semi-diatonic scale, resembling- more or less our Western chromatic gamut. The ancient Chinese might thus have had hepta- tonic and chromatic scales in aU the keys; they did not, however, extend the use of their discovery so far, for up to the time of the Yin (|^) dynasty (B.C. 1300), only five notes — the sounds emitted by the five first lus (see Diagram No. 2) — were in general use.^ To express these five sounds in writing, certain characters had been selected ; they were — g (kung), ^ (shang). ^ (chiao). it (chih). m (yd)- But at the beginning of the Chou (^) dynasty (B.C. iioo), two more notes (the sounds emitted by liis Nos. 6 and 7 of Diagram No. 2) were introduced.^ These were called — M ® (pien-kung), literally changing into kung ; and ^ Wi (pien-chihj, „ „ „ chih. Ts'Ai Tzu (^ ^) says: "Between kung and shang, shang and chiao, chih and yii^ there is only the interval of one lu ; we skip over one lu and use the next one (see Diagram No. i); but between chiao and chih, yil and kung, there is an interval of two liis. Now, when the notes are separated only by one lu the distance is not great, and their succession is satisfactory; but wheii two lus stand between two notes the connexion between these seems interrupted." ^ To remedy this deficiency, the two fien were added to the scale, bringing the number of notes to seven; and these were called the seven principles, because they are produced by the first seven tubes, and because, as seen in Diagram No. 2, they engender one another. The ancient scale was therefore as follows. Like the European diatonic scale, it is com- posed of five full tones and two half tones ; but one of the half tones is found in the Chinese gamut between the fourth and fifth degrees, whereas in the Western gamut it stands between the third and fourth degrees. = i ^ ^ ^ in r ^ Pi ± -t s, etc. m jE Up iff, n f* i'J it M ^ ^ H, Wl, etc. CHINESE MUSIC. 1& Names of Notes. Kxmg B Sliang ^ Ghiao ^ Fim-chih ^ ^ Ghih ^ Yii ;.... M Pim-kung ^ a Kung ,.... a Lus by which the Notes are produced. HtMng-dwmg ^ ^ T'aUs'u :;J: ^ Ku-hsi j^ f5fc Jwi-pin ..|!^ ^ Lin-ehung ipfj ^ Nwn-liJb ^ S Ying-chung IE ® Huang-chung ^ ^ Westeru equivalent Notes. .^^5v. * c. D. E. F#. G. A. B. C. This scale remained in use unchanged until the rise of the Yiian (-jH;^) dynasty (14th century), the founder of which was Kublai Khan, the grandson of Genghis Khan. The invading Mongols brought with them a scale and a system of notation different from that used by the Chinese. This scale was as follows : — Ho. 2, ± K X >ll 7^ S Yi. Shang. Gh'ih. Kung. Pan. Liu. Wu. This new notation rapidly became popular on account of the simplicity of the characters compared with the complicated signs of the ancient scale. But confusion was naturally created by some musicians using F natural, while others used Fi^. Kublai Khan, who always paid strict regard to the ancient laws and customs of the conquered Chinese, endeavoured to reconcile the two scales by introducing F # in the modern gamut under the name of ^ (hou); and the following gamut became dominant during the rule of the Yiian (%) dynasty ^ : — ' Q ©— ■t) r^ "tTT- (S>- ''J Ho. SsH. Yi. Shang. Kou. Ch'ih. X Kung. Fan. Liu. 2L Wu. See ■ ^, book 1^ If, chapter g; |f. 16 CHINESE MUSIC. The Ming (^) (15th century) adopted the Yiian gamut, but excluded all the notes producing half tones, and so obtained a pentatonic scale composed as follows : — "ZZ. ■zz. 121 -&- Ho. SsH. ± R X Shang. Gh'ih. Rung. lAu. 5 Wu. The present dynasty — the Ch'ing (^) — reverted to the Yiian gamut, leaving out, however, the note kou (43), which was th«i real pien-chih of the ancient scale. Their scale is given as follows : — Actual Names of Notes. So ^ SsH Yi 2- Shang Jl GhHh fi Rung X Fan )\j^ Lilt "^ Wu 55 Ancient Names of Notes. Rung (i) §■ Shmig (l) '^ Chiao ^ Chih{i) it Ghih{2) ^ ^ Til fj Rung (2) ^ ^ JSung(3) g il? Shang {2) ^ ijf Names of Liis. Huang (i) ^ T'ai{i) ± Su ^ Chung \ijf Lin ^ Nan ^ Ying M Huang (2) ^ j^ 2"«*(2) ±m Western equivalent Notes. * W^ <5 c. D. E. P. G. A. B. 0. D. From what precedes it may be seen that not only have the names of the notes been changed but also the principle of the scale is no longer the same. The two pien or half tones of the ancient scale are no longer in use ; they have, it is true, never been well understood by the majority of Chinese, but now, to avoid all possible confusion, they have been carefully put aside. The present Chinese theoretically admit seven sounds in the scale, but practically they only use five, and that as well in ritual music as in popular tunes. CHINESE MUSIC. 17 Only the modern names of notes are used. The ancient denominations of the notes are now only met with in books. They are the scientific terms of the five sounds. The modern names are much easier, and besides present the advantage that by means of a little sign affixed to the left of the note, the octave higher is at once expressed ; thus, X is A grave, and ^I becomes A acute. Some instruments, as the ch'in, the se, and the pien-chung, require, on account of their special construction, quite a different musical notation, which will be given further on. Each of the primitive names of note's had a particukr meaning. The Chinese, who are so fond of comparing and contrasting, could not fail to find some relation between the five notes and — The five planets : Mercury, Jupiter, Saturn, Venus, Mars. „ points : north, east, centre, west, south. „ colours : black, violet, yellow, white, red. „ elements : wood, water, earth, metal, fire. The affinity of the five sounds with the five relations of men and things is explained as follows by the Chinese : — i". § B S (kung shu chiln). The note Icung corresponds to the chief, the ruler, the Emperor. 2°- l§ M E (shang shu ch'4n). The note shang corresponds to the minister. 3°- ;ft W J£ {chiao shu min). The note chiao is related to the people, the nation. 4°- M M ^ (chih shu shih). The note chih represents the affairs of the State. S°- M M ^ (y^ ®^^ '"'W- I'^s ^°*^ y'"' represents material objects. In our Western music the position of a note on the stave determines its pitch. In ancient Chinese music, with only five characters to represent the different sounds, it must have been next to impossible to read a written piece of music. By inspection of the scale given above, it may be seen that the modem Chinese have a special sign for nearly every note of their melodic system. Their characters not only express the sounds, but also indicate the pitch — that is, their position in the gamut. The music of the Chinese, hke their language, is written in vertical rows of characters from right to left. They never trespass beyond the limits of 14 sounds; finding within the compass of that scale an infinite variety of tunes to which Chinese ears only can become accustomed. OF THE STAVE. Their hieroglyphic notetion, permitting the recognition of the pitch as well as of the name of a written note, has spared the Chinese the use of a. stave. Besides, their habit of writing, characters in columns from top to bottom would never admit of the adoption of a stave like ours. 10 CHINESE MUSIC. Chinese musicians must often be puzzled when reading a new piece, there being no way of distinguishing a note from its octave. This defect has been remedied to a certain extent by affixing httle signs indicating the octave higher ; but this custom is not general, and, owing either to negligence or ignorance, many pieces are found in which there is no means of distinguishing the notes J:, ^, X fro™ their respective octaves. But, as will be seen, this is the least important imperfection of Chinese solmisation. OF THE VALUE OF NOTES. The Chinese have not for each sound several figures expressing its value or length. Their notes indicate simply a certain sound at a certain height, but leave the reader in the most complete doubt as to their value. Sometimes signs or dots are added on the right of a note to signify that it is to be held longer than the others, but stiU this system is not uniform, and is found only in manuscripts. This is incontestably the weakest point in Chinese musical notation. The total absence of signs showing the value, the rests, the time, etc., makes it quite impossible to learn a tune by merely reading the written notes. The best Chinese musician could only conjecture the general form of a written piece shown to him for the first time; to be able to decipher it he must first hear it played. The following are the principal arbitrary signs in use :^ 1°. Some notes are written larger than the rest, to emphasise them. 2°. A space is left between two notes. This may mean a rest or the end of a verse. 3". Small dots are written after the notes, one dot for one time. For instance, X may be J ; then X • will be q', and X • • ■ will represent q. OF THE RESTS. A rest is denoted by httle signs ( ^ or x ) placed in the same row as the notes, but its duration is merely a matter of taste, and must be learnt traditionally. A space left between two notes may indicate a pause. OF TIME. The only measure scientifically recognised by the Chinese theorists is that in four time. In practice, however, several measures are admitted, especially that in three time. CHINESE MUSIC. 19 Each fourth time is indicated by a small circle (o) written at the right side of the note ; the three other times are marked by dots (. . .). But time and measures are not always indicated, and this deficiency, together with the total absence of signs marking the value of notes, compels the musician to learn aU the tunes by tradition. The tunes, modified by the individual taste of the performer, may after a lapse of time become quite different from what they were origmaUy. Song called ^ :^ (The Feesh Beautiful Flower). 1 L. > 1 1 1 W 1R IK, m it 1^ i3 t'wo ) a doubled ying-ehung (the 12th lil of the primitive\series, being doubled becomes the 12th lu of the grave series) =B ^ \ V begins ) begins ) starts the V the\| the intonation ) tune '3 music. =<1 C1- * e - IL _ 1:^ m 11 t'iao to intone a tune, 9 e. _ ^K ^X 1^, cftV (we must) exclude, leave aside, 1 ji m ^ T. fcitig' the notes kung and yi, or 24 CHINESE MUSIC. OTHER SIGNS OF NOTATION. Most of the instruments required in ritual music have a particular kind of musical notation adapted to the exigencies of their conformation. For instance, a piece written for the ch'in presents a complicated combination of strokes difficult to learn and to decipher. Still it is an ingenious and abbreviated kind of notation. Neither time nor movement are ever mentioned at the beginning of a piece ; and crescendos, decrescendos, legatos, etc., are utterly unknown to the Chinese. OF SINGING. It is difficult to give a correct idea of Chinese vocal music. Few foreigners are able to imitate Chinese vocaHsation. The sounds seem to proceed from the nose ; the tongue, the teeth, and the Ups have very little to do, except for the enunciation of some labial words. Besides, men and women generally sing in the kind of voice known as voix de tete. Chinese singing is always in unison, and usually serves as an accompaniment to the guitar. In ritual ceremonies the singing is of a tender and plaintive character, in a kind of minor key; It is also in unison, and therefore bears a striking resemblance to the first Christian runtus planus. It is generally accompanied by a kind of minuet dancing, in which the different attitudes and evolutions of the performers must express to the eye what the voices and instruments convey at the same time to the ear. A remarkable peculiarity in the Buddhistic service is that although all the chanters utter the same words and follow the same rhythm, still each sings in the key most convenient to his owa voice. In theatres the singing is mostly a kind of " recitative " couched in pompous and meta- phorical language. OF HARMONY AND CHORDS. The Chinese have nothing hke our harmony, taken in the sense of chords, counterpoint, etc. The only collection of different but simultaneous sounds recognised by them is that produced by playing two strings (at a distance of a fourth, a fifth, or an octave) together on the ch'in, the .se", or the guitar. CHINESE MUSIC. 25 RITUAL MUSIC. Under the name of Ritual Music must be comprehended all music performed at Court or at the religious ceremonies of the JH f^ (ju-chiao), or " Sect of the learned," of which the Emperor is the chief These ceremonies take place at fixed epochs ; for instance, the winter solstice is the fixed date for the worship of Heaven, the summer solstice for that of Earth. During the spring and autumn lucky days are chosen for the worship of Confucius and the spirits of departed sages ; at other times services are performed at the temples of agriculture, of ancestors, of the sun, of the moon, etc. Most of these ceremonies take place during the early hours of the morning, and are always terminated at sunrise. The Emperor is supposed to attend himself, but if for certain reasjons he is unable to do so, he deputes one of the Princes or a high dignitary to conduct the ceremonies in the name of the sovereign. Everything connected with them is minutely regulated : the number of musicians, of dancers, of instruments, vases, and utensils of all kinds, of movements, genuflexions, and even words, is rigorously fixed. As all the ceremonies are pretty much alilte, I will illustrate only those p erformed at the temple of the great sage Confucius. Confucius (in Chinese, K'ung-fu-tzU), the great sage of China, was a native of the state of Lu (B.C. SJo), the present province of Shantung, where his tomb can be seen at a place called Ch'li-fou. His Ufe and writings have been made generally known by numerous translations into various foreign tongues,^ and therefore I need not explain how and why he became an object of profound veneration for succeeding generations. Confucius is now worshipped all over China by those who belong to the lettered class. In every prefecture and sub-prefecture there is a temple devoted to him, where ceremonies are performed with great pomp twice a year. The Confucian temple at Peking is a spacious and magnificent building, covered with a double roof of yellow glazed tiles, which is sustained by massive wooden pillars. Access to the temple is gained by passing through three great gates and traversing as many wide courts, where weeds are growing luxuriantly. Before the temple there is a broad, elevated, marble terrace reached by a flight of steps, and guarded by handsome balustrades of elaborately carved marble. The temple has three great doors, which are wide open at the time of worshipping. Within, on the north side of the great hall and facing south stands the shrine with the tablet bearing the words: The Most Holy Ancient Sage Confucius. ^ In two other shrines, facing, one west and the other east, are to be seen the tablets of the four principal disciples of the sage, Mencius, Tzu-ssu-tzij, Tseng-tzu, and Yen-tzu.* In two other large buildings lying east and west of the temple are placed, in the order of merit, the tablets of ancient worthies. Before Confucius' shrine in the temple there are several tables bearing offerings of meats of different kinds, grains of all sorts, fruits, wine, incense, silk, satin, etc. 1 See Leggb's " Classics," among others. -26 CHINESE MUSIC. The way from the first gate to the centre of the temple is left open for the passage of the Emperor or his deputy, with his suite of princes, dignitaries, and attendants. At the second gate the Emp6ror leaves his sedan and walks to the temple at a slow, stately pace ; a band of 14 musicians and 11 ensign and umbrella bearers precedes him, while an appropriate piece of music called ^ ^1 (Tao-yin), the Guiding March, is played. I give here this march, which is played by two sMng, two ti-tz'ti, two hsiao, two ywi-lo. two tou-kuan, two drums, and two pairs of castanets. R 00 ^.. I ^. X m X Xo J- />o 0, :3ir /■»Oi Xo £ X ^'P' ^. £ ±. m /^O 'S-o ^1 x„. 5^0 m ^0 X m # ^ X. ^. X 3# 00. lo Ko HU ^ R. s ± 0v lo. ±. E3. ^\- Hsiang cMng Un /«. Yilii ta chin i :zz. 1Z. ■'&- -zz. •2Z. 3: Jih chi chieh. GhHen ch'ing ' I continue to say the Emperor because if he does not officiate himself the ceremony is always carried on as if he were present. ^ For translation of this Hymn see p. 34. 4 28 CHINESE MUSIC. During the second strophe the Emperor kneels twice and knocks his forehead three times on the ground; he then presents the fruits of the earth and the wine. The chanters sing: — El # RM z,U ^M m^ R^ x^f ^M m^ ^K ^M '^'^ ^w ^\ R± Xf Z.± K^ x1\- Very slow. ElT ^* B Z.m K m ^li B 59 .£2. "ZZ. ZSL is: Yu huai mmg jC2 Til cMn chin -&- is: z^- m ■zz. ■zz. tm/nq yu. Chan is: ta J2. ch^Sng. I m ie: w Tsu i tou ch'ien hu. Ch'un ch'm jz: zz: -s>- 22: zz. zz. Ch%ng Mu chi OhU During the third strophe the Emperor kneels twice and knocks his forehead three times against the ground ; he then offers the sacrificial animals, which have previously been stripped of their skins, cleansed, and placed on the tables. The singers chant : — bM 2*1^ ^ it I ^¥=^ ZZL z.n R^ z.% B% Z*® ^W B% lie Bm f^ -77- rIY x^ ^^ B I z.m z.i zz. zz 1 Bmh chHen. Sheng fang tsa% hsien. CHINESE MUSIC. 29 P .£2. is: t'ao -©- 2/wn(/. 3: Chiang fu 1 hsien. i is: is: zz J^ i i ywig ijung. Yii ym. s: g [ I ^ -s^ 2: 2z: ii i'ao 2/0 shu. huaii shan. During the fourtli strophe the Emperor again kneels twice and knocks his forehead three times against the groimd ; then he presents incense, pieces of silk, satin, etc, wliich are burnt in the tripod incense-burner. The chanters sing : — K^ 2iS ^ 2:4 c z^m rM Z.& K% xs kM R% 7L^ z.^ Z.^ ^-^ ^ -s-Tlt R\k ^^ xm mM> ^^ ^w 0^ m xm xM m^ z.^ ^m x^ E3ft 2,^ p 32: fat 13: yu .£2- "ZZ. PH i is: pien (7 chi Yil lull I tso. 22: Zo. -©- iis: 3: Wni tHen yu ■miw. Wei ■ihing shih jo- > CD «^ 1 A --^ 1 J'3 ■Cr» , .!^j2 1 L Zim yu hsii Ghih chin to. 30 CHINESE MUSIC. During the fifth strophe the Emperor remains. standing before the tablets, while assistants remove the viands from the hall. The singers say : — 64> z.% 2.# z.m. ^pi ^n 11^ x:5fe ^^ #g ^# II -g^ ^;f^ ^# 11^ K^ ® X^ 114 1i§ Za% HiJ^R^ 2*jji@ JW _^2_ ■zz. i zz ■«- 3: fl :22. Hsien yu yen. CAi shou fu. ISI -©- Aai hmng hung. -a. ^g" OVou lean pu is: zz -s^ 1 :zz £i (a) leng .2L A;tio ch'e. :sz. Wu Z2Z s/lM fM. s 2Z :s£ Lo Ghung yuan yu shu. During the sixth and last strophe the spirits are supposed to take their departure. The singers say : — ^W li-ft liiE L^ ^m R^ rW xM m^ z.^ R^ Kflg nm TLfs \-Lm ^m j^ ^W HM ^H #iJ 2:^ zitr ^?f 0ii® 1$ X Jf X 1^ E3 ^ II E3 ^Ifc Et^ ^lllt TT" s: zz .^2. zz w Pu zz "ZZ. 0. OAm 2/a)i(? yang. :^- -&- zz i Ching Uu .^2. ZZ .12. iij chao 8siX 1Z. rung m nvmg. CHINESE MUSIC. 31 i -&- •zz. .^2- ■73" -rr ■zz: Hiui. chmg min. Yii chiao hsiang. During the second, third, and fourth strophes the dancers perform their evolutions. During the first and last two strophes they remain stationary in a respectful position. By the word dancing is not meant anything like the fooUsh jumping or endless turning to be met with in our ball-rooms ; the dancers are grave performers who by their attitudes and evolutions convey to the eye the feelings of veneration and respect which are expressed by the words. Evolutions made by Dancers during the Hymn. 32 CHINESE MUSIC. ELEVENTH. CHINESE MUSIC. 33 In ancient times also dancing held a conspicuous place in worship, having been first introduced into the ceremonies by the Emperor Shun (B.C. 2255). It was not till the third year of Yung-ming in the Ch'i dynasty (^ 77c BJ) (A.D. 485) that an imperial decree ordered that dancing should form part of the Confucian ceremonies,^ There were at first only civil dancers {■% H), but the Emperor Ch^n Kuan (^ ||) of the T'ang (@) dynasty (A.D. 650) introduced also military dancers (g£ ^). The civil dancers, dressed in their court uniform, had in one hand a long feather and in the other a small stick ; the military officials who took part in the dance were dressed in fuU miUtary uniform, and had in one hand an axe and in the other a shield. Under the present dynast^he mihtary dancers have been excluded, and the number of civil dancers has been fixed at 36, with two chiefs. The long feather called g (ti), which was anciently composed of three feathers bound together in the form of a trident, has also been reduced to a single peacock's feather. The little stick, called ^ (yueh), which the dancers hold in the left hand, was anciently a flute with three holes, on which they played at intervals ; now it, is a simple stick. The hymn is sung by two groups of three singers standing east and west of the temple and facing each other. The pitch of the key-note is given them at each strophe by the bell instrument. They are accompanied by the other instruments in the following way ; — The t'e-chung, or large beU, sounds the first note of each verse. The pien-chung, or bell-chime, gives one soimd at each word, and, in fact, guides the voices. After the bell-chime the lutes give their note, which is followed by all the other instruments except the pien-ch'ing, or stone-chime, which is struck after aU the other instru- ments, in order "to receive the sound and transmit it" to the second note, which is treated in the same way. At the end of a verse a drum is beaten three times and answered by another drum, after which the bell-chime gives the key-note and the next verse is begun. When the hymn is finished the head of the yii, or "tiger-box," is beaten once, and a stick is passed rapidly along the projections of its back. The Emperor then retires, preceded again by the band playing the "Guiding March," and at the second gate he enters his chair. From what precedes it is easy to realise that a ceremony performed during the quiet hours of night, and with all the requirements of the rites, is really worth seeing; and the profane who can contrive to be admitted to a quiet corner cannot fail to be deeply and solemnly impressed. ' -See P ^ ^, book ^ ||. 34 CHINESE MUSIC. Translation of the Sacrificial Hyjin to Confucius. I. — Receiving the approaching Spieit. Great is Confucius ! He perceives things and knows them before the time ; He is in the same order with Heaven and Eai'th ; The teacher of ten thousand ages. There were lucky portens, and on the unicorn's horn a tuft of silk. The rhymes of the song correspond to the sounds of metal and silk. The sun and moon were unveiled to us ; Heaven and Earth were made to look fresh and joyful. 2. — First Presentation of Offerings. I think of thy bright virtue. The jade music ends. The music of metal is first heard. Of living men there never was one like him ; Truly his teaching is in all respects complete. The vessels are here with the offerings, the same as dm-ing thousands of years. At the spring and autumn equinoxes, on the first of the days whose character is "J" (ting), Clear wine is oifered. The sweet smell of the sacrifice now first rises. 3. — Second Presentation. The regular sacrifices should be offered without deficiency. The chief sacrificer advances in the hall and presents the second offering ; The harmonious sounds are heard of drum and bell ; With sincerity the wine cups are offered. Eeverently and harmoniously Approach the saorificers, men of honourable fame. The ceremonies are purifying, the music cleanses the heart ; They work on each other and reach the point of perfect goodness. 4. — Third and last Presentation. From antiquity through all the ages Primitive men have done this. They wore skin hats ; they offered of the fruit of the groiuid. How orderly was the music ! Only Heaven guides the people ; Only the Sage conforms his instructions to the day and hour. The moral duties are arranged in their proper order. Till now the wooden clapper sounds. CHINESE MUSIC. 35 5- — Eemoval op the Viands. The ancestral teacher said in his instructions : "Those who sacrifice obtain happiness." Throughout the four seas, in students' halls, Who would dare not to be reverential 1 The ceremony concluded, the removal of the offerings is announced. Let none be neglectful or show want of respect ; Let their joy be in him who is the source of their culture ; Let them remember the poem of the beans in the fields, and imitate him."^ 6. — Escorting the Spirit back. The Fu and Yi mountains are very high ; The Chu and the Ssii spread their waters far, , So thy beautiful acts extend their influence above and around, Causing benefits without end. Now has been seen the glory of the sacrifice ; The sacrifice has been made to appear great and beautiful. He renovates the thousands of our people ; He fosters our schools and halls for instruction. ' Chung yuan yu shu. This is found in the Book of Odes : " The beans grow in the fields. TKe people gather them. The ming Ung has a family of grubs. The wasp carries one away on his back. In instructing your children, take care to imitate this good example." 36 CHINESE MUSIC. POPULAR MUSIC. Under this designation must be understood all theatrical, ballad, processional, and ordinary street-song music. To perform this music none but common instruments are used : the moon-shaped guitar, three-stringed guitar, two-stringed violin, clarionet, drums, castanets, etc. In the principal cities there are concert-halls, to which Chinese are admitted for a few cash to hear a song or a ballad. The orchestra ordinarily consists of two balloon-shaped guitars (played by girls who sing at the same time), one three-stringed guitar, one or two violins, one small drum to beat time, one flute, and one yang-ch'in. All these instruments play, or at least try to play, in unison ; still it seems to a foreigner not acquainted with their music that each performer has a part of his own, and that each aims to distinguish himself above his colleagues by making as much noise as he can. The impression produced on foreign ears is anything but favourable. Still, if patient attention be paid, it is soon discovered that the performers play in time and well together. A Cantonese Orchestea. Professional musicians, like actors, generally belong to the poorest classes of society. . In Peking they are for the most part blind men ; in Canton nearly all the musician-girls are blind, except courtesans Hving in " flower boats." It need scarcely be said, therefore, that the majority of the Chinese professional musicians are totally ignorant of the principles and theory of music. The only notation they make use of is the one known as the X R (kung-ch'ih), or "common notation." Music is little practised as a recreative amusement among the Chinese CHINESE MUSIC. 37 lower classes, but this may be attributed to the fact that they are always so busy, so hard- working, so gain-seeking, that they find no idle time to devote to pleasure ; stiU it not unfrequently happens that when passing along the streets towards evening one hears the strains of a fiddle coming from one shop or another, and should curiosity then lead one to enter, he might find the shopkeeper or his assistant busily engaged in quite a different pastime from that of seUing candles or sugar loaves. That music is much liked in China is proved by the numerous bands of musicians which parade the streets; by the least important festival being never celebrated without music of some kind; by the constant singiag in the streets of children, domestics, hawkers, and passers-by. What does it matter that we foreigners find the popular music detestable if the Chinese themselves are contented with it ? Is not contentment the first step towards health ? And is not health the condition sine qua non of happiness ? Well-organised theatrical performances only came into use during the T'ang (J||) dynasty. The dances which had prevailed up to that time had become so licentious that the Emperor Yuan Tsung (% ^) (A.D. 720) thought it necessary to prohibit them ; and in their place proper theatrical representations were instituted. Theatrical pieces are divided into acts or J|f (cM), and are often preceded by a prologue or ;j^ .^ (sie-tze), in which the various personages come on the stage to explain their names, qualities, and the part they are to play. Singing is the privilege of the principal actor in the piece. He represents generally a person of great virtue and moral quahties, and his singing consists in pompous eulogies of what is good and- commendable. The singing is not unfrequently in the "recitative" style, and the way the orchestra accompanies, in broken, sudden chords or in long notes, bears a striking resemblance to our European recitative. Mr. G. C. Stent, of the Chinese Maritime Customs, wrote some years ago a very well- thought and well-rendered article on "Chinese Lyrics."^ The comparisons between Chinese and foreign songs are admirably drawn, and are full of wit and humour. I propose to introduce here some of Mr. Stent's paragraphs including some of the songs translated by him. I have, however, taken the liberty to replace the music which he has given by the real and correct tunes, which I have myself carefuUy noted down from hearing them played. Mr. Stent says : — " We are all aware that the Chinese are, as it were, an isolated race, and will not allow the privacy of their homes to be ruthlessly invaded by their own fellow-countrymen and friends, much less by foreigners. How, then, can we obtain a knowledge of their everyday domestic life ; how know anything of the thoughts, sentiments, feelings, affections, actions, and the thousand little nameless nothings that help to make a Chinese home 1 As we are now situated, the knowledge of Chinese domestic or home life is only to be obtained from three sources — novels, theatricals, and songs. ... In them foreigners can see Chinese as they really are ; see the interior of their homes, have their daily life vividly depicted, even to the minutest detail ; hear their endearing expressions Much may be learnt from theatricals. I do not mean what I should call their spectacular pieces, made up of gorgeous dresses, . . . . and fighting, but modern farces or comedies ; in them you see a good deal of Chinese life and inanners, and pick up many a quaint expression or curious custom. A great play upon words is also often exhibited) in them; absurd mistakes occurring through the similarity in the sounds of characters; so that) for punning purposes I think the Chinese language is unequalled The songs • See " Journal of the North-China Branch of the Eoyal Asiatic Society for 1871-72," page 93. 38 CHINESE MUSIC. I shall introduce .... I have obtained, some for the sake of the rausio, which I have fancied pretty ;, others, for the (what I have thought) beauty of the language ; others, again, for their absurdity. Here I may remark that foreigners in this case are very like Chinese. How many songs are published nowadays that are dowm-ight trash — utterly worthless but for the fact that some of them have pretty tunes. How many persons play the airs of or sing popular songs when they know the language of them is simply idiotic. Who cares to know that ' Captain Jinks of the Horse Marines Fed his horse on corn and beans,' or that some individual, name unknown, 'feels like a morning star,' which he takes care to repeat an alarming number of times, the only drawback to his otherwise blissful state of existence being the pertinacious attacks of a fly, which he endeavours to dispose of summarily by using terms at once entreating, reproachful, and stem? I quote his own eloquent words, 'Shoo ! fly, don't bother me !' Yet this kind of song is patronised extensively ; but I trust in the majority of cases only for the music, which is really cheerful and pleasant, for it would be showing a poor taste for poetry to say one admired the language. So that however simple or absurd any song I introduce may appear, I claim that it possesses equal, if not superior, advantages to some of om- own popular songs ; for there is something not generally known to foreigners to be learnt from evei-y Chinese song, and the music of some is positively pretty, and would compare favourably with some of our own ballad music Songs or ballads in Chinese are very similarly arranged to our own, and the mere rhymist would find it an easy matter to string a number of rhymes together, on account of the construction of the language and the immense number of characters having similar sounds ; whether they could write poetry or not is another matter. . . . . I shall at once proceed . . . with the translation of a song called ' Wang torniang,' or, as we should say, 'Dame Wang.' I have perhaps been free in the translation, and have utterly repudiated the possibility of my being able to put it into English verse Wang Ta-niang oe Madame Wang. i ^ ^ :2P=^ ^ ^a Sha ch'uang sha ch'uang wai Ki - pi - ehr- i s ? ^ 5 M T— ^ «t-^ tang Chieh &ir wen sha yal 3 m^ Ke -pi-ehr 5 i^^^ Wang ta tidang Wang ta niang chin mtn tso tsai ^ 5 ^ S fe i ka ting shang. Chin ndn tso tsai lo kao i 3 5 "¥T ho ho hai ' The translation runs thus :- CHINESE MUSIC. 39 PiEST Verse. B3* 5^ !S M> "M. W> Pi From the outside of the gauze windows P^ PT PJy Si ii 1^ Came the sound of a neighbour's tapping. I@ II ^ fpj 5^ JJ. The girl within exclaimed, ' Who is it 1' J^ ;^ 2 5i M I® ' "^'® y°^^ neighbour, Wang ta-niang.' iBT-ffi^P^MSS^I Dame Wang entered the door, and sat down "J" J^ on a high stool. ^ /^ ~. /g. — . Heigh-ho ! heigh-ho ! ® f@ S fS f Ij ^ PS" ^ II & GiKi' Goq.): 'You treat me lightly by not coming oftener T -fc to my poor place.' Second Vebsb. m iR ^ H ii ii^ ""^ D.W. : Drew the flower-embroidered curtains, § -^ BSl :^ ^ K Inhaled the fragrance of the cosmetics, iS" ^ 1^ ifl )^ iljfc Turned down the red damask counterpane, 51^ ^ H Pjb BiJi Looked at the girl, '^Af@i9/?» 6'&®5S^I^ '^^^ perceived that she had fallen away to a "J iM mere shadow. ^ A, w- A — Heigh-ho ! heigh-ho ! SST#-SiJ?>5cMjliliifi — & I>-W. (loq.): ' WeU, Miss, and how have you been these last few days V Thied Verse. 835 5c ^ sS ^ 3^ ''^ Girl (sings): ' For the last few days I have had no energy or S 11 31 5i 5S life whatever, W .M i© ffi -ifit ^ With no inclination even for my tea, fi ^ ^ -ifii M ^^ "^^ appetite whatever for my food, ~I ffl H W RT ?S S 'I'll ?!■ is ^ ^°^' hot):i tea and food I have felt such repug- np /^ . A. _ nance that I have had great difficulty in taking them. Heigh-ho ! heigh-ho !' H Bi Bi 5|S ^ -fi f® ft f4^ H & D. W. (loq.): ' ShaU I call in a doctor to look at you V Fourth Verse. W i&W '^ M iSL ^ GmL(sings): 'I'll not call in one, for I do not want him. ffe ^ ^- 'lE» ^ SZ If I were to send for a doctor, he would only SS" ^ ^ tt 1® tS be feeling my pulse and sounding me ; }@ }S X ^ ^ And I am afraid of feeling and sounding. T ffl # iK 5i: RT is JS ® *l ^ Heigh-ho ! heigh-ho !' 1^ JK '^ ^ 1@ If f4> ^ & ^•^* r%J-' 'Shall I send for a Buddhist priest for youV 40 CHINESE MUSIC. Fifth Veesb. 1^ ^ ^ /j^ it j^ Pg GmhfdngsJ: 'I'll not send for Mm either, for I do not want ftfc ^ :^ 4 ^ SX him. ^ /Sfc -f^ f j@ H If I invite a Buddhist priest, he will only be ^ .^ jjr^ ^ ^ jingling and banging ; 7* f g § i^ ^ pj" £ ^ pj: ^ ^ And I am afraid of jingling and banging. • p^ -^ 'S' — Heigh-ho ! heigh-ho V H ^ Pi ^J f@ 11 #: ^ & D. W. floq.J: ' Shall I call in a Lama priest for you V Sixth Verse. GmLfsinffsJ: 'I'll not call Mm either, for I do not want him. If I send for a Lama, he will only be singing and chanting ; And I am afraid of singing and chanting. Heigh-ho ! heigh-ho !' D. W. (loq.): ' Shall I call in an exorcist for you?' m^mx^mum i^mj^HLmu ^^^mmmm m m^m^t M :g rt #j Pi m m Pi pt '^ - '^ - H ^mmmmw^M^ m^mi^mum f&^^ ^MM et ^ 1 *^ fi n #j mxmm M ^ rt m m m m m m^~^~ M T^mm^^^mm^ Tta Seventh Verse. GiRhf sings J: 'I will not send for her either, nor do I want her. For if I called in an exorcist, she would repeat spells and incantations ; T tfi H iSZ :^ RT #J P? MR "S M ^^^ I am afraid of spells and incantations. Heigh-ho ! heigh-ho !' Mi^^^^MM^^M^'^ D-W. (loq. J: 'You don't want this, and you don't want that; PS 6^ # ^ ^ :^ ^ how did you get this sickness of yours V Eighth Verse. Ba* 11 ^ H ^ H P§ GiRhfsingsJ: 'The third month, ah ! in the third month, ^ iW :^ -^ H At the ' pure and bright ' period, 83" ^ §2. ■?£ 1^ ^6 When the peach blossoms were opening. ^ W 3L^ ^ ^^^ ^^^ willows were bursting forth into green, T:SS^Rr#i-dFS'PPl^i ^ ™^* * young gentleman who was taking a 1^ ^ — ,^ — spring stroll. Heigh-ho ! heigh-ho !' M^ U ifr> ^ MM '^ MM "^ ^-^^ (loq.): ' Spring stroll or not, what had that to do with you?' Ninth Verse. S j^ ^ X #1 Pi Gmh( sings): ' He loves me, for I am a fair and beautiful girl ; y< ^T^wM. And / love Mm, too, for he is young and a PJ3- fife ^ 31 ^ ^ student, ^ ^ — ^ ^ And I have spoken a few words of love to him. TISe5'IS*'&]iiT^fi&'&^ Heigh-ho ! heigh-ho !' ^MM ft^ 'ffi 7 'If iE :^ '1 p & 1^-W. (loq.): 'Love or not love, are you not afraid of your S 'M parents knowing it V CHINESE MUSIC. 41 Tenth Verse. fi^* # ¥ n^ 3K, P§ GmiifsingsJ: ' My father is seventy-eight years of age, /V ^ 'H "T -C And my mother is deaf, besides her eyes are mmm^u dim; 1-B X rR ii fl* I am not in the least afraid of them. 7 tS ;^ ^ RT 1^ A r SB ff9 m Heigh-ho ! heigh-ho !' ^ JE ^B i$ ^ {*)> ffi /F 6 I>.'W.(loq.J: 'Are you not afraid your elder brother and his wife will know it ^ ' Eleventh Vbbse. PS" If # 60 ^ Pi 'G,isl( sings): 'My elder brother is seldom at home, ^ 'tt 4'> ft ft And his wife is constantly at her mother's ■^m^^t^U house; So I am not at all afraid of those two either. Heigh-ho ! heigh-ho ! ' T 16 Tv ^ rT ^ A - SB ff3 m P^ '&-"&- S 3iii ^D ^ ffl- fij^ IS '^ & D.W. (loq.): 'Ai-e you not afraid of your sisters knowing it?' Twelfth Verse. Pj^" SE M 6'5 ^ Pi GriB.ii( sings): 'Between my elder sister and myself there is « ^C -7 Sit f no great difference, W !^ ^ 64 & And my yoxinger sister is too young to know ^^11^*1?^ anything. IS 64 'P "" -^ ^ 64 i?l SB ff5 P& ^^ y°^^ ^"^^ I express the same opinions. J Heigh-ho ! heigh-ho ! ' PE tt JS i!§ fi)^ S & I>- W. (loq.): ' And what is it you wish ? ' Thibtebnth Verse. M ^'^'S.W^^Wl GiRLfsings): ' Oh ! my dear Mrs. Wang, I look upon you S.^ Si ^ f® i^ 5^' ^ ™y adopted mother ' (hastily falls on, Pf ^ T 'It ^ M ^«^ *»««4 Jj^^ gg ^ vg. ^ 'On my knees I entreat you to be so in reality, as-j'^cKgeiga ©.^BK'^?^ ^nd arrange this affair successfully for me. ■y Heigh-ho ! heigh-ho ! ' Pfi ~r /R ^ JSS ^ D.W. (loq.): 'And if it cannot be completed successfully?' TP&5E^^RrT^SB^.^Pi GriBL(sings): 'If it cannot be completed, then I shall die of bitterness. Heigh-ho ! heigh-ho ! ' ^--&- "I fancy," says Mr. Stent, "some of my hearers saying 'What rubbish !' Yes, it is rubbish. And yet there is a great deal to be learnt from this song, puerile as it appears in English, — more so than could be learnt from the two ' popular songs ' I just now quoted ; for in this we discover that there is amongst 42 CHINESE MUSIC. the Chinese, as with us, sickly sentimentality— love-sickness, in fact,— and we learn, moreover, the supersti- tious remedies suggested. First, the doctor (I do not include him of course under the head of ' superstitious remedies') ; the young lady knows well that all the doctors in the world, with their pulse-feeling; priests, with their banging of cymbals, etc. ; Lamas, with their chantings ; and exorcists, with their incantations, are useless. She is afraid of all these characters, but, from various causes, she is not in the slightest degree afraid of her own family. Another thing we learn, that there is such a thing as ' sweethearting ' or love-making amongst them ; it may be indulged in by stealth — a great deal is done in that way in our own countries ; but it remains a fact, in spite of father, mother, or friends, she meets this young gentleman, and actually tells him she loves him, and to all appearance, too, without his even asking her, though for the credit of the fair sex I trust he may have done so, although she omitted mentioning it. At another place she says, ' He loves me because I am beautiful ; and / Ime him,' not because he is handsome, but because 'he is young and a student;' this shows that although young ladies may not study themselves, they like those who do. So here we have mutual love among this ceremonious people : ' He loves me and I love him ;' and to wind up all, if the girl does not succeed in marrying this young gallant, we have the promise of her dying of bitterness — in other words, dying broken-hearted " The next song I shall introduce is called, as I shall translate it, — The Haunts of Pleasure, or "Yen-hua-liu hsiang." ■!lH^1 l .i i1I.L,M,L-ihVJ l Ll %' \ ^ • 2 ■^- L^ N ^ Yen hua ya liu i ^S— 5 S 1 y * *^ <) Nu ch'un ch'ai [.n^lHIIl^lj l vi ^ *) * ya Lien ch'a huan fm Tail chi hua &ir ^ i^ ■& •-T ¥ai ya Hao hsien lai. Ha! ha! ha! m *==( ^ •I— # m ha! ha! ha! ha! ha! Ai ya i ho hai Ch'ai. Ch'i 16. Ian chao pai. Sa! ha! ha! ha! ha! ha! ha! ha! CHINESE MUSIC. 43 There are in all 13 verses in this song, but I give here only the Chinese text of the first verse :— mtmm m m fM PJ PI p? - BI n m m m This song is also known under the name + 5. ^ i?^ (Shih-wu t'o hua), " The Fifteen Bunches of Flowers." Mr. Stent continues : — " One would not imagine by the tune that the words of this song related to a very painful subject. There is a pathos and plaintiveness in the language which are very affecting, and most of the ideas are conveyed figuratively. I will not attempt to translate it, for indeed I feel I could not do justice to it, so I will simply give a general outline of it A girl bemoans her hard fate, and bitterly reproaches her parents for their hard-heartedHess and covetousness in selling her, when quite a child, to a life of infamy. She, in pathetic language, describes her progress step by step in guilt, and the many incidents connected with such a life ; flattered and caressed if successful, beaten severely with a whip if the reverse, till, as she touchingly expresses it, 'the tears trickled down my poor little face;' on to old age, with youth and beauty gone, everyone looking on her with contempt, no friends or relations to notice her, no son to burn incense for her when she is dead ; what has she to hope for 1 Winding up with a prayer to heaven to protect her and send someone to take her from that hon-ible life, enable her to be virtuous, so that she may get on the road to heaven. There is something peculiarly pathetic in this song, and much also to reflect on, for we learn from it that girls are remorselessly sold by their parents to a life of infamy; probably two-thirds of the unfortunate beings we see being sold in a similar way, very few indeed taking to it by choice. What struck me most . . was the earnest prayer at the end of the song. No talk of ' chin-chin-ing Joss,' but a direct prayer to heaven. There is something inexpres- sibly touching also in another part; she almost reproaches heaven for giving her the 'peach-blossom destiny ' when she exclaims, , ' Heaven's heart must have felt resentment against me, or why allow the two characters "peach blossom" to alight on me? Why not cause them to fall on some other person? Surely, in my former life I could not have cultivated virtue ?' To understand this my heai-ers must bear in mind that in Chinese fortune-telling certain characters are lucky or unlucky, as the case may be; and the two characters }^ :j^, ' peach blossom, ' are considered particularly unlucky, for if they fall on a male child it is believed he will grow up a profligate, if a female, that she will become fallen ; so that parents consider it onjinous of the future fate of their children, should they be so unfortunate as to have a ' peach-blossom destiny.' Mr. Stent gives several other songs and ballads, but not having been able to verify the music, I refrain from inserting them here. 6 44 CHINESE MUSIC. Tlie following air is exceedingly popular in North China ; it is entitled ^ i| ^ ^9 & (Ma-ma hao ming-pai), " Oh, mamma ! you understand me well." tr §l^^=^&^ *^ \) I "\^.J -^^^^ -r^ ;il=;fe ^t JLiTj ^ M ^ jj ijj*i^ ^ m « J J^ I M J - J ' N 5^ jj:^ I rjT? I ^ ^ The following ballad is called + Zl g ft and contains no less than 48 couplets However, the first .couplet only is given here : — Moderato. Orchestra. i ^ ^ TSt LliJ I 'im u ^ I Voice. ^ ^ -•r^ «7 ^P ■er ^ K3=S 3 1 ^1 •'OV] IE M MM m en Orchestra. m ii^'i I'j 'i ^ s ^ CTifogf yu - eh shih JE M M m en 3ftC m ^ Voice. ^ 5 uJ i] ^jj J ^ Chang fu CHINESE MUSIC. 45 m ^ ^ t3t^ E ■%=- S ^ "jS^ ch'u ffi cMng ch'u sm hua/n ^ Orchestra. 3rf: S ^^^ ^ ^^ p=^ Voice. H%ia - ttng trh xovL. hsin S/io« sW/i hung ho Orchestra. ^ * » « l1« i^ 1 ^ ■^^}j^ ^ ^^ ^^■^I]^ i | i-1ii |im[if^ i ^ ^=^ : \ \ B.C. Jn conclusion, I give the two times played ordinarily at funeral and nuptial processions. Both are exceedingly original and really worthy of a better interpretation than that afforded by the shrieking clarionet. 46 CHINESE MUSIC. Funeral Maech. Yery slow. ^ ■I rn /3 ^3 3 ^ ^^ 2 /7\ i a 'i V^ M *: it= rail. a tempo. i ^ 5 5 S ^ -» S 35: :ll B.C. Wedding March. Moderato. ^) 3!< ^ ' ' *l g> ^ ' I '^ ^ i^ ^ ^ I VI L3 I 1 I i J Mj I v \n 1 1TJ r J ^ ^l\ I i J i § /^ CHINESE MUSIC. 47 DESCRIPTION OF INSTRUMENTS. Chinese musical instruments might be divided into two distinct categories — first, those of a somewhat complicated workmanship, used in the ritual ceremonies, and which are held sacred; and second, those of a common, primary form, used in popular music. But in order to keep in accord with the poetical spirit of the Chinese, I will follow the classification adopted by them. It has been said above that according to Chinese ideas music is nothing but the expression of the perfect harmony existing between heaven, earth, and man. The numerous comparisons derived from this principle have also been mentioned. If the Chinese imagined the existence of certain resemblances or affinities between music and creation; if they found the idea of their system in natural phenomena ; if they discovered in the 1 2 moons and the 5 planets the basis of their 12 lus and 5 notes; finally, if the jiip g (shen-li), or spiritual principle of music, was derived from heavenly regions, it is evident that the instruments (which represent t^^ Ml Wi (ch'i-shu), or material principle) were to be found in the natural productions of earth. The Chinese therefore put Nature under contribution for the production of eight kinds of instruments corresponding to the eight symbols /\ ^, (pa-kua) of Fu Hsi, which, they beUeve, are the expression of all the changes and permutations which take place in the imiverse. I give here a table showing the order of the sonorous bodies, with the symbols, the points of the compass, the seasons, and the instruments to which they correspond : — No. Sonorous Bodies. Kuas or F0 Hsi's Symbols. Points of the Compass. Seasons. Instruments. I 2 3 4 S 6 7 8 N.W. W. S. E. S.E. N. N.E. S.W. Autumn-winter Autumn The stone-chime. The bell-chime. The lute. The flute. The tiger-box. The drum. The reed-organ. The porcelain-cone. ^ Vh'ien Metal a. Tui Silk Summer m Li Spring WfnnA ' Spring-summer Winter G^r^■n Grourd Winter-spring Summer-autumn ^Mn if K'un = := In the following description the instruments will be grouped under one of the above eight categories, according to the material they are made of, but they wiU also be distinguished by a consecutive series of numbers, which will unite them in one whole group. 48 CHINESE MUSIC. 1°. STONE. The use of sonorous stone to make musical instruments may be said to be peculiar to China. At all events, the Chinese were the first to give stone a place in music ; their classics frequently mention the stone-chime as being known by the ancient Emperors and held in great esteem. Unfortunately, of the music and the iastruments in use during the Hsia, Shang, and Chou dynasties, nothing remains but a few books which escaped the destruction ordered by the Emperor She Ht7Ang-ti ; i and under the Emperor Ch'^ng Ti (j^ ^) (B.C. 32) a complete stone-chime was discovered in a pool, where it had been thrown, and from this model new chimes were made. The best stone for chimes is said to be jade, but another kind of black calcareous stone is generally preferred, because it is easier to work and comparatively much cheaper. No. I. — The T'S-ch'ing (^ ^), or " single sonorous stone," is a stone cut in the shape of a carpenter's square, and supposed to render the sound of the triple octave below hucmg-chung. The side which is to be struck by the performer's hammer measures 2.25 feet; the other side is only 1.8 feet in length. It is suspended in a frame by means of a string passing through a hole bored at the apex. It is also known under the name of g|| ^ (li-ch'ing), perhaps on ' W ^ = f-e i: CHINESE MUSIC. 49 account of its sound being so deep. Its place at the Confucian ceremonies is outside the temple, on the left side of the " M6on Terrace." Its use is to give one single note at tlie end of each verse, in order to "receive the sound." ^ Formerly the stone was cut in a fantastical form, representing some monstrous animal, fish, dragon, or the like. According to the "Illustrated Description of the Instruments of the present Dynasty"^ there are 12 i'e-cA'mc)', one corresponding to each of the liisj and they are employed only at the religious and court ceremonies. No. 2. — The Pien-ch'ing (|g ^), or " stone-chime," is an instrument composed of 16 stones suspended on a frame. The stones, which measure 1.8 feet one way and 1.35 feet the other, are aU of equal length and breadth, and differ only in thickness ; the thicker the stone the deeper the sound. i^m^m- ^^M a H jpl ^ ffl ^- 50 CHINESE MUSIC. Formerly the size of the stones was in a gradually diminishing progression, following the degrees of the scale of the liis. The number of stones has also not always been the same. The ancient Chinese used i6 stones; the Hans, 19; the Liang, 21 ; the Wei, 24; the Northern Chou, 14; the Ming, 24. K'ang Hsi reverted to the old custom, which, besides, had been the one prevalent during the Chin (^), Sung (^), Ch'i (^), and Sui (|^) dynasties.^ The music for the pien-ch'ing is expressed by means of the names of the 12 liis, but only the first syllable of each name is used, as huang, instead of Jmang-diung ; ta, instead of ta-lii, etc. In ancient times the 16 stones represented the sounds of the 12 ordinary liis and of the first four liis of the acute series. The present dynasty has abolished the four acute lus (the four ^ (ch'ing) as they were called), and in their place the four liis immediately below huang- chung have been selected ; these are called jg (pei), that is, double. The scale of the pien- ch'ing is actually as follows : — Wu. Upper Column. ^ P I. 13- ^11.^9. ±7- mS- Jui. Ku. T'ad. JSuang. Tin ■'ei-wu. fei-i. ■It^ :tfg tf c* -^- t Lower Column. ]ii6. ^14- Ying. Nan. If; 12. ii|i 10. Lin. Chung. Chia. ^. fc ^'- '£"• r- Ta. Pei-ying. Fei-nan. < i ■77- CT^ f zr The notes of the upper column correspond to the yang lus. The notes of the lower column correspond to the yin lus. To illustrate further the notation of the pien-ch'ing's music, I give here the part which this instrument has to perform during the first strophe of the Hymn to Confucius : — Huang-chang is to be the key-note and the Double /-fee" is to begin the air. i j:^ !E "Z7" JiZ. .^^ b:©: W^ ■&■ -cr f$ ^#^LII ^^ i^ ■©■ M ■^■ -zr V. "^■ ± ^ ± b; n ^ ± m ± i^ m m K ^ ^ ^ (The sign V means that the Chinese equivalent note is nearly J tone higher than the sound represented by the Western note. The A means that it is nearly |- tone lower.) CHINESE MUSIC. 51 In tMs pien-ch'ing piece the Chinese note ^ H (pei-i) cannot be properly rendered in foreign notation, because it is in reahty higher than Ab and lower than Abj ; the same occurs with the note H (i), which is lower than G# and higher than Gb|. It has been already said that in the' transpositions of the tones to form the different scales the intervals do not remain the same ; this is due to the Chinese scales being formed of perfect fifths brought into the compass of an octave.^ But the reader may ask, why do the Chinese not use the note ^ ^ (pei-nan) (A) instead of f§ 3| (pei-i) (Ab), and the note i^ (lin) (G) instead of ^ (i) (G^) ? Because the two notes proposed correspond to the yin lu series, and when the key-note of a scale is a yang lu, all the notes composing that scale must absolutely be yang lils ; and when the key-note is a yin lib, all the notes have to correspond to the yin liis. There is no other explanation, and the Chinese aim is attained, viz., to prove the irrefutable connexion of their music with astronomy and Nature. The pien-ch'ing is exclusively used in court and religious ceremonies ; it would be con- sidered a profanation to use it elsewhere. There is one of these instruments in each Confucian temple and imperial place of worship in the Empire, and no doubt the imperial palaces and residences contain many of the best kind ; but it is impossible to find a complete pien-ch'ing for sale, although separate stones may be found. At the Confucian temple this instrument is placed on the west side of the temple, on a line with the t'i-ch'ing. Its special part is to give one sound at the end of each word, in order to " receive the" sound " and transmit it to the next word. It is not known to whom and to what dynasty the invention of the pien-ch'ing may be attributed, but there is no doubt that it is one of the most ancient instruments. No. 3. — The Ko-ch'ing (^ g), or "singers' stone-chime," which has now totally dis- appeared, was an instrument the same in principle as the pien-ch'ing, with these exceptions : it was composed of either 12 or 24 stones, which were cut in fantastical forms; the pitch was 1 The Chinese recognise the necessity of flattening or sharpening certain notes to adapt them to a change of key. Compare the " Eclysis " and " Bobole "'of the Greeks. 7 52 CHINESE MUSIC. an octave higher, and the notes, instead of following each other in two series of 'yin and yang sounds, were placed in a chromatic succession. No. 4. — The Yil-ti (3g !§■) and the Yil-hsiao (^ H) are two flutes, exactly the same as the ordinary flute ; the only difference being that the material employed is marble instead of bamboo. The Chinese think that stone is less susceptible to changes of temperature, and therefore is best adapted to preserve the real sound of the lus. For description, see " 4". Bamboo," below. No. 5. — The Hai-lo (^ ^), or " conch," although not properly a stone instrument, is classified here for convenience. It is a large sea-shell of conical form, with a hole in the apex through which to blow. It is used only by soldiers, watchmen, etc., and principally for the same purposes as those for which we use the bugle in Europe. 2°. METAL. Metal is one of the five elements. It comes from earth, say the Chinese, and still it is a substance of quite a different nature.'^ It was necessary, therefore, to give it a place in music, and this was done in the earhest ages, for we see in the " Miscellaneous Treatise of Prince Lu " (B.C. 300) that "the Emperor Huang Ti (B.C. 2697) ordered Ling Lun to cast 12 bells to agree with the 12 liis and the five sounds."^ Bells are also frequently mentioned in the classics. Bell-metal is composed of six parts of copper and one of tin. When melting, the alloy appears first to be of an impure dark colour, which, however, soon changes into a yellowish white ; this colour gradually passes to a greenish white, and when this last colour has become gi'een, the metal may be poured int9 ■ the mould. The mould itself must be made exactly according to the proper dimensions, for " if the bell is wide and short, the sound will not reach a great distance ; if the metal is too thick, it will emit no sound ; if the mouth is too large, the sound will be too loud."^ BeUs of all sizes, from those weighing more than 50 tons down to the small ones which swing on the eaves of pagodas, used to be found all over China. Some are ornamented with characters (mostly sentences in honour of Buddha), some with designs and symbols; some are round, some are square; and all are used mainly for rehgious purposes. At the door of each Buddhist temple a bell is to be seen, which the believers strike "to call the attention of the sleeping gods." No. 6. — The Yung-chung (ig ^), or " large beU," ought to be 4.5 feet in height and have a mouth of 2.8125 feet diameter, gradually decreasing towards the apex. The Chinese say that it was made to correspond with a very big drum; the one was not to be used without the other, for the drum had to give the signal to begin and the bell had to announce the end of the hymn at the ceremonies. Though now no longer in use, both instruments are stni to be seen. At the temple of Confucius, in the same court in which stands the hall, are two small pagodas, one to the east, the other to the west of the hall and in front of it. .'S^l5iff&l&« + -afD5 t>tc. See g J5 § ^. W W CHINESE MUSIC. 53 In the east pagoda, to which access is gained by ascendmg a few steps, hangs a big drum, somewhat damaged by its exposure in the open air; and in the other pagoda on the .vest the large bell is suspended. No. 7.— The Po-chung (^ |g) is a single bell suspended upon a frame, and corresponding to the if^-ch'ing, or "single sonorous stone." When this bell sounds, the r^-ch'img must answer. 1 It measures 3.6 feet in length, and has a diameter of 2.25 feet, which gradually decreases towards the top. There are 12 po-chv/ng, corresponding to the 12 Ms, and intended to meet the changes of key which occur according to the seasons. The measurements here given correspond to the huang-chung, or first bell. The po-chung is placed outside the temple (at the Confucian ceremonies), on the right side of the " Moon Terrace." It has to give one note at the beginning of each verse, in order to " manifest the sound " — in other words, to give the pitch. It is struck with a wooden hammer. It was called sung-chung during the middle ages. '^m3im,^M^m- 54 CHINESE MUSIC. No. 8. — The Pien-chung (|| ^), or " bell-cliime," is an instrument composed of i6 bells suspended upon a frame. It is made on the same principle as the pien-ch'ivg, or " stone- chime," and, like that instrument, is of the greatest antiquity. The Yellow Emperor — Huang Ti (B.C. 2697) — used a chime composed of 12 bells, agreeing with the lus j the Chou dynasty (B.C. iioo to 255) had chimes of six and nine bells, decreasing gradually in size and diameter; of these, however, nothing remains but a meagre description in the native records. CHINESE MUSIC. 55 In subsequent ages various kinds of chimes were made : some were composed of 24 bells, corre- sponding to two series of Ills ; others of 16 bells, corresponding to the 12 lus plus the first four liis of the acute series; others of 14 bells, corresponding to the notes of the diatonic scale, C, D, E, etc. ; in a word, this instrument underwent the same changes as the " stone-chime." Anciently the bells were quadrate ; under the T'ang (A.D. 600, and after) and subsequent dynasties the bells were oval and were adorned with mammse in gi'oups of nine each ; the mouth was crescent-shaped, and they were hung obliquely. The Sung (A.D. 1000) provided each bell with a knob, by which it could be hung in a vertical position. But K'ang Hsi, of the present dynasty, abolished the ancient forms and adopted round bells, ornamented with the pa-kua symbols, and having on the top a dragon, by which they could be suspended. Chimes were made of 16 bells, aU of the same size and diameter, but differing in thickness and weight. These are the chimes now in use. The music, the pitch, the notation, etc., of the pien-chung is exactly the same as that of the "stone-chime;" and, like this latter instrument, it is exclusively devoted to court and religious ceremonies. Wherever a stone-chime is used, a bell-chime is requisite; they are necessary one to the other : the bell-chime sounds and the stone-chime answers. At the Confucian temple the pien-chung is placed on the east side on a line with the po-chung. It gives one note at the beginning of each word, to intimate the pitch to the singers. No. 9. — The Ko-chung (^ Q), or " singers' bell-chime," is now no longer in use. It was constructed exactly on the same principle as the pien-chung, but it sounded an octave higher. It was the companion of the ko-ch'ing. The bells were either 12 or 24 in number, and they were quadrate or crescent-shaped. The place of this instrument during the Confucian 56 CHINESE MUSIC. ceremonies was on the riglit side of the hall; it sounded one note at the beginning of each word. The pien-chuTig has now quite taken its place, and even single specimens of quadrate bells are seldom to be found. No. 10. — The Wei-shun (Jf |f) is a very ancient bell of the Chou dynasty. It had the shape of a balloon, and was suspended singly upon a frame. It was 1.35 feet in height; the upper diameter was i.i feet, and the lower diameter measured 8.3 inches. It was suspended by a knob shaped somewhat like the ^ (wei), monkey. This animal is said to have a yellowish grey head, a forked tail, and an upward nose ; in rainy weather it hangs from the branches of trees by putting the two ends of its tail into its nostrils, and so forming a circle. From it was derived the Chinese idea of suspending their bells. The wei-shun was used mostly for the ceremonies at the Temple of Ancestors, where it corresponded to some kind of drum which has also disappeared. It has been said that this instrument "is simply a large bell, with small round bells suspended in it to act as a tongue, the sound thereby produced being exceedingly shrill." ^ "N. B. Dennts, "Journal of the North-Ohina Branch of the Eoyal Asiatic Society, 1874." CHINESE MUSIC. 57 No. II. — The Shun (IJ). This is the literary appellation of an instrument shaped like a mortar. The popular name is g (eking). It is struck with a wooden hammer, and when used at the religious ceremonies is put into a kind of silk purse richly ornamented with costly fish scales. It ought to measure 1.3 feet in height and g\ inches in diameter. No. 12. — The To (^f), or "tongued bell," is an ordinary bell having either a metal or a wooden tongue, and a handle at the apex. Formerly there were four different kinds of tongued bells in use in the army. The ringing of the to conveyed to the soldiers the injunction to stand stiU and be quiet in the ranks. Hence this bell came to be associated with the idea of respect and veneration ; and when music was performed to illustrate the meritorious actions of warriors, faithful ministers, etc., the to was employed to symbohse obedience; each military dancer had a to with a metal tongue, and each civil dancer had one with a wooden tongue ; it was used at the end of the dance. At present the to is used only by bonzes to mark the rhythm of their prayers. No. 1 3. — The Lo (^), or " gong," is cast in the shape of a platter or a Chinese straw hat with large brim;, it is of various sizes, varying, from 2 inches to 2 feet in diameter. It is suspended by a string, and struck with a mallet. The use of this noisy instrument is very general. At the gates of yamens it announces the arrival of visitors ; in the army it gives the signal of retreat ; in processions it frightens and drives away evil spirits ; on board ship it announces departure; during eclipses "it frightens the heavenly dog when about to devour the paoon"; in ^ongs it marks the time; in the streets a small gong is the sign of the candy merchant, and a large one may announce the approach of the district magistrate with his retinue ; in Buddhist temples it is beaten to call the attention of the " sleeping gods." Native /descriptions rarely mention the gong, perhaps because it is popular merely and is not required for imperial worship. No. 14. — The Yiln-lo (§ H), or "gong chimes," is an instrument composed of 10 little gongs suspended upon a frame by fine silk cord. The gongs are all of the same diameter, but they differ in thickness. The yiin-lo is used at court, mainly on joyful occasions; at the 58 CHINESE MUSIC. Confucian worship it is required only in the "Guiding March." It is to be seen sometimes at wedding and funeral processions, but it appears there sirdply for form's sake ; the hired coolie who has charge of it for the occasion strikes pitUessly right and left, without regard for the tune his companions are playing. The specimen he carries is also very often a worthless one. It has become exceedingly difficult to find a yiln-lo capable of giving a satisfactory gamut; besides, the pitch is not uniform, so that two yiln-los rarely agree. The scale is ordinarily C, D, E, F, G, A, B, C, D, E, or, in Chinese notes, ^,m,Zj> ±. K. X. /L> aJ. 5L. 1L- The relative positions of the notes in the frame may be represented by numbers as follows : — 10 9 8 7 4 S 6 3 2 I No. 15. — The Po {^), or "cymbals," are made on exactly the same principle as our Western instrument. They are said to have come originally from India.^ The use of them is most conspicuous (and particularly disagreeable to foreigners) at theatrical performances. After a quotation, a command, a verse, etc., the cymbals give 10 or 15 notes in rapid succession, and as the actor generally speaks in a falsetto, imitative voice, the words are almost inaudible. No. 16. — The Fing-ling (g(, |^), or "wind bells," are small beUs hung at the eaves of houses and pagodas, the clappers of which, having streamers attached, are swung by the wind. During the time of the T'ang (^) dynasty the feng-ling was suspended in the examination haUs.2 No. 17. — The Hao-t'ung (^ ^) is a long cylindrical instrument having a sliding tube, which can be drawn out when wanted for use. In arrangement and form it is not unlike a telescope, but of much larger diameter. There are two distinct varieties. The first comprises instruments of different sizes made of wood and covered on the outside with copper ; they are exclusively used at funeral processions, and emit only one long grave note, which is heard at a long distance. The second variety includes instruments made of copper only; they are of a less diameter than the first and are used for military purposes. ^ Compare with the Hebrew Metzilloth. 2 N. B. Dennts, "Journal of the North-China Branch of the Royal Asiatic Society, 1874." CHINESE MUSIC. 59 No. 1 8. — The La-pa (e|ij p/^) is a long trumpet with a sliding tube similar to that of the hao-t'ung} It gives four notes, C, G, C, E, and is properly a military instrument ; but it is also the privilege of itinerant knife-grinders to use it to make known their whereabouts in the streets. Another variety of tlie la-pa is crooked, and therefore is called i^\^ ^ (cha-chiuo) ; it is of various sizes and is used at wedding processions. 3°. SILK. Silk holds perhaps the first place amongst the natural productions employed in music, not only on account of the great variety of instruments whose strings are made chiefly of silk, but also because stringed instruments can boast of the greatest antiquity. The classics and other ancient books make frequent mention of the ch'in and the se in connexion with the first rulers of China ; the descriptions which they contain are of the most exalted kind, and are fuU of allegorical comparisons, of which I will give an idea below. No. 19. — The Ch'in (^), is one of the most ancient mstruments, and certainly the most poetical of all. It was invented by Fu Hsi, who called it ch'in, referring to restriction, prohibition,^ because its influence checks the evil passions, rectifies the heart, and guides the actions of the body. The dimensions, the number of strings, the form, and whatever is connected with this instrument had their principles in Nature. Thus, the ch'in measured 3.66 feet or ^ of an inch, because the year contains a maximum of 366 days; the number of strings was five, to agree with the five elertxents ; the upper part was made round, to represent the firmament ; the bottom was flat, to represent the ground; and the 13 studs stood for the 12 moons and the intercalary moon. The strings also were subjected to certain laws. The thickest string was composed of 240 threads, and represented the Sovereign; the second and fourth strings contained each 206 threads; and the third and fifth 172 threads. It is doubtful if all these remarkable similarities and comparisons are stiU adhered to and regarded. The ch'in of the present day retains the primary form, but the number of strings has been increased to seven. These strings pass over a bridge near the wide end, and then through the board, and are tightened by nuts below ; at the smaller end they are tightened on two pegs. The 13 studs should be of metal, the board of flU (t'ung) wood, and the nuts of marble or jadestone ; and the silk should come from some particular place.^ 1 Compare with the Chatzozerah of the Hebrews and the Tuba of the Eomans. ' ^ ^ 4 ^ ifc l5a 515' «'"■ See^^. 60 CHINESE MUSIC. The ch'in is used for what is called elegant music (H H). It is supposed to be the special instrument of the educated classes ; and yet, it is somewhat neglected by the present generation, being scarcely met with except at imperial ceremonies. This may be attributed to the fact that playing on the ch'in is surrounded with difficulties enough to deter the most willing learners.l^ The notation, for instance, is quite peculiar : each note being a compound of several simple characters, so arranged as to convey at once to the eye of the performer the note to be played, the string to be chosen, the finger to be used, etc. The principal signs are the following : — Right Hand. ^■ indicates that the right hand alone is to play the note. — , H, H; 0. etc., indicate what string is to be played, the ist, 2nd, etc. ^ indicates that the thumb must push the string outward. P L n T r i) }} » inward. index „ outward. >? >» jj inward. middle finger „ s? )> )) " )? outward. ring-finger „ » inward. ^ „ ,, „ outward. two strings must be played at the same time, fifths or octaves, index must beat several strings in succession, same string must be played by the index and middle finger in succession, same string must be played by two or three fingers together, in order to re-enforce the sound. Left Hand. ^ indicates the thumb. J^ „ „ fore-finger. ^ , „ middle finger. 9 " " ring-finger. — ^ ^, ^, pg, etc., up to ^, {i.e. Nos. i to 13) indicate at what stud the finger must press on the string. CHINESE MUSIC. 61 These simple characters and a number of others are brought together in various ways to form compound characters. Thus, if the player meets with the character ^/ he will know at once that he has to pull rapidly the seventh string forward and backward with the fore- linger ; if he should meet the character ^,^ he would place the middle finger of the left hand opposite the seventh stud on the second string, and give an inward motion to that string with the middle finger of the right hand. It is easily perceived that such complicated directions are difficult to learn and to remember, and that endless studies are necessary to master this instrument. At the Confucian ceremonies there are six eh'in : three on the east side of the hall, and the three others on the west. The music which they have to perform is written in the sim- plest manner, but it is permitted them to embeUish their part with all the difficulties which their skiU will allow of Formerly the seven strings were tuned as follows : — 1234567 C D E G A C i) 1 Composed of TfC (index of right hand to be moved inward), L, (index to be moved outward), and ^ (seven, i.e., the seventh string). ^ _ . , , • n 2 Composed of Ff», ^ (seven, i.e., the sevenOi stud), ^, and _ (two, m., the second strmg). 62 CHINESE MUSIC. OWS: — 3 4 5 6 7 C D E G A At present they are tuned as follows : — I 2 G A The scale in the special notation is thus represented : — ^ G, the 1st string to be pulled inward with the middle finger of right hand. 45 A, „ 2nd ^ C, „ 3rd *E, ^ A, 4th Sth 6th 7th outward with the fore-finger The following is the part of the ch'vn in the first strophe of the Hynm to Confucius : Huang-chung (C) is the key-note ; pel i-tsS (A) begins the tune. -i^'-Tt'^ t^— r"*" ^=H — o 1 — ^ — 1 —& — fo<>^ <^ f? — Ih— -.^—^ — -^- ((?i 1 ^ is \^J \ Ml r> ^ II fe r^ " II ^-^ ^ KX) 1 II 1 ^ •7 n -©- '^ HI II gs '^ — l^^ '^^ -rr^ m 1 II 1 II ^ £ A ^ _ IS ^ S ^ M ^ ^ ^ ^ ^ n n n ^ ^ ^ ^ ^ ^ jg m n m m "^ No. 20. — The Be (|g) is said to have been invented by P'AO Hsi (jg \^, and to have had originally 50 strings. It is recorded that "when a certain Miss Su (^) was one day performiag on the se in the presence of the Emperor Huang Ti (^ <;^), the strains of the instrument impressed him so deeply and rendered him so sorrowful that he forthwith ordered the number of strings to be reduced by one-half." ^ The se" is made on the principle of the ck'in, and, hke that instrument, has been made the subject of numerous allegorical comparisons. The number of strings has varied, having been sometimes 27 or 25, sometimes 19 or 23 ; but the se now in use has 25 strings. Each string is elevated on a movable bridge. These bridges represent the five colours : the first five are blue, the next red, the five in the middle are yellow, and then come five white, and lastly five black. There are four kinds of se, differing only in dimensions, — the longest measuring 81 inches. See ^ f|. chap. 5. CHINESE MUSIC. 63 o The se" is used chiefly at imperial and religious ceremonies. At the Temple of Confucius four se are required: two on the east and two on the west of the hall. The notation is in principle the same as that of the ch'in, but the characters are doubled, because the se always plays two notes at one time. The scale of the se" is as follows : — ^ :il -e ^ ^ 1 i ij i 64 CHINESE MUSIC. Each, of these characters indicates which strings are to be plaj^ed together. The ae when well tuned is supposed to give five octaves. Below is the p^rt played \>j the se in the Con- fucian Hymn, first verse : — Huang-chung (C) is the key-note ; pei i-tse (A) begins the air. -&- -is. :^ 1=: z= jSi. M'^ - - " TT -^- -i2. -S2- -&- i js:. IZ. -&- zz ^^ f^ II k %% m m m _^. _r2 -^ 22- J22:. a m » 2Z -iS^ TT" -- -^- i M 22: :s: :s: No. 21 — The TsSng (|^) is exactly the same as the se' in form and principle; but it is smaller and has only 14 strings, all elevated on movable bridges. It is used in preference to the sS at imperial receptions and on joyful occasions. The notation is identical with that of the se. No. 22. — The P'i-p'a (f| ^), or "balloon guitar," is about 3 feet long, and i foot wide in the body. It has four silk strings which are said to represent the four seasons. This and some other allegories enforce the belief that the p'i-p'a has a more or less ancient origin, but the date of its introduction is not known with certainty. CHINESE MUSIC. 65 There is a slight difference between the instruments made in the South and those manufactured in Peking; the former are of better workmanship, but the fingering and the music are everywhere the same. On the neck table there are ii or 12 frets, intended to guide the player. The strings are tuned : 0, F, G, C, or as the Chinese say, ho {^), shang (Ji), ch'ih (R), lin (^). This instrument being chiefly used on joyful occasions in connexion with the flute, the strings ' are of course tuned after the pitch of the flute ; but in private the performer tunes it to the pitch which pleases him best. In the -South, the p'i-p'a is the instrument preferred by troubadours who are hired to sing ballads, songs, etc. ; and in the North it is generally played by men. The performer has to exercise great dexterity of finger and Kghtness of hand, for not only is the music always of anipiated movement, but nearly all the notes are played in tremolo, which effect is obtained by passing the nail or the plectrum rapidly fonvard and backward on the string. By pressing the first string successively over aU the frets the following scale is produced : — i J J ttJ 1 Open string, ist fret, 2nd, 3rd, 4th, 5 th (the others are not used). The second string produces :- j> J 1 h 'I ^ S ^^M i Open string, ist fret, 2nd, 3rd, 4th, 5th, 6th, 7th, 8th, 9th, loth, nth. The third string produces : i u - , 1 it-^^ i Open string, ist fret, 2nd, 3rd, 4th, sth, 6th, 7th, 8th, 9th, loth, nth. The fourth string produces : — 1 ^^ -*r »^ M: ^ s ^ i E l ^ Open String, ist fret, 2nd, 3rd, 4th, sth, 6th, 7th, 8th, 9th, loth, nth. 66 CHINESE MUSIC. The whole extent of the p'i-p'a's scale is therefore the foUowing : — i :?-^ ^ i 1 1 *i^ jt etc. I But the frets which produce chromatic notes or half tones are never used. Probably in past ages, when music was cultivated as an art, these frets were employed to transpose airs into other keys ; but it is nowhere recorded that they ever served to produce chromatic runs. The p'i-p'a has no special notation. Being a popular instrument, and never required at rehgious ceremonies, it is played mostly by bHnd persons who acquire their musical knowledge by rote. There are, however, song-books for the p'i-p'a in which the ordinary notation ('^,0, ^, etc.) is used. No. 23. — The ShvMng-ch'in (H ^) is an octagonal guitar with a long neck furnished with frets. It is made of hard wood, and has four strings tuned in pairs, with the distance of a fifth between the two pairs. It is played with a plectrum; but it is now rarely used, the cost placing it beyond the reach of ordinary musicians. No. 24.— The San-hsien (^ |^), " or three-stringed guitar," has a shallow cylindrical body, the top and bottom of which are covered with snake skin. It has a long neck (without frets) and three strings, which are timed sometimes C, F, C (z^, _t, ■j^), but more frequently C, D, A i'^, 0, X)- It is sometimes played with the finger, but oftener with a plectrum. It is one of tlie favourite instruments of street ballad-singers., No. 25.— The Yueh-ch'in (^ -p), or "moon guitar," is so called because the shape of the CHINESE MUSIC. 67 body resembles a full moon ; there is a variety, however, the body of which is octagonal. The neck, which is short, is furnished with frets for the convenience of the player. The four strings are tuned in pairs at the distance of a fifth. In some places the strings are made of copper instead of silk. This instrument is used, together with the p'i-p'a or san-hsien, to accompany ballads, songs, etc. No. 26. — The Hu-ch'in (^ ^), or " vioHn," has a hollow cylindrical body the upper end of which is covered with snake skin, while the lower is left open. The body is pierced by a long arm, to which are attached four silk strings. These strings are tuned, the first and third ^^ (or C), the second and fourth f^ (or G). The bow passes between the strings, so that it requires close attention to play without touching the wrong string. The body is sometimes a round tube of bamboo, of wood, or of copper ; sometimes it is octagonal in shape and is ornamented with little pieces of ivory. It is of varying size, the smallest having only two strings. The hu-ch'in is rarely seen in the South, but in Peking it is one of the most popular instruments. It is not difficult to learn (except the management of the bow), and it does not extend over one octave ; moreover, it is comparatively cheap. No. 27. — The Erh-hsien (~ ^), or " two-stringed violin," is in principle exactly the same as the hu-ch'in, but it never has more than two strings. It is still more popular than the hu-ch'in, for it is met with all over China. Its form varies. Sometimes it is a hollow bamboo tube, and is then called Pf Pf (hu-hu) ; sometimes it is simply half a cocoanut shell, and is then called P0 ^ (t'i-ch'in) ; but no matter what its form may be or what material it is made of, it has always only two strings, which are tuned at a distance of a fifth from each other, and between which the bow passes. The lower classes in China seem to be very fond of this rather unattractive instrument, of which foreigners have formed a decidedly poor opinion; but if we reflect that it is often played without taste or feeling, if we consider its cheapness and the simpHcity of its form, and if we learn for ourselves that it is really capable of producing agreeable sounds, there wiU then be no reason to find fault with the inventor or the invention. No. 28. The Tang-ch'in {f^ ^), or "foreign harpsichord," has the form of a rectangillar, trapezoidal, or oval box, about 2 feet long, i foot broad, and 4 inches high. When the lid which covers and protects the sounding-board is removed, one finds a range of fine metallic wires, disposed in sets of two, three, or four to each note, decreasing in length from the base 9 68 CHINESE MUSIC. upward, and fastened at both sides by nails. On the sounding-board there are two bridges, perforated with seven or eight holes each, over and under which the strings are stretched ; and the strings which pass over the first bridge have to pass through the opposite holes of the second bridge, and vice versd. There are ordinarily i6 sets of strings, eight passing over the right bridge and through the holes of the left bridge, and eight passing over the left bridge and through the holes of the right bridge. This arrangement consequently affords four series of notes, one on each side of each bridge ; but only three series are in general use. The series of notes given by the strings on the right side of the right bridge is not used. The strings are tuned with a key in the same manner as our pianos. The scale produced is the following : — Left side of right bridge: '^^' 4 ^ ^ ^ s s Right side of left bridge: ■ <^^ J J J h '^ ^ ^ ^ I Left side of left bridge: i T 1 ^ ' 1 "T^ CHINESE MUSIC. 69 The yang-ch'in is played with two light slips of bamboo, and it is capable of producing extremely pleasing sounds when well played. It may sometimes be heard together with the violin and the guitar, accompanying songs and ballads. 4°. BAMBOO. One would think that bamboo ought not to be distinguished from wood ; but, according to Chinese ideas, there .is a very great difference between these two substances. Bamboo is neither properly a tree nor yet a simple plant, but it partakes the quahties of both these products. Its manifold uses have caused it to be considered a peculiar material, particularly useful in music. No. 29. — The P'ai-hsiao (^ ^). The Chinese were a long time in discovering that a tube pierced at different places may be made to produce as many sounds as there are holes by merely stopping these holes one after the other. In order to get the various sounds, the ancient Chinese used as many tubes as, there were sounds ; these tubes fastened together produced the p'ai-hsiao, or " Pandean pipes." The first instrument of this kind was made by the Emperor Shun ■,^ it was a collection of 10 tubes, gradually decreasing in length and connected together in a rough manner by silk cord. In subsequent ages the number of tubes was increased to 12, then to 16, and even to 24; at present, the p'ai-hsiao has invariably 16 tubes. These tubes are arranged upon a frame more or less carved and ornamented; they cor- respond to the 12 lils and the first four Ms of the grave series, and emit exactly the same notes as the bell and stone chimes. The sounds of this instrument represent the voice of the feng-hvMng, or phffinix; and the form of the frame typifies this bird with its wings spread.^ The tubes which give the notes corresponding to the yang Ms, or # # + t is 1- ^ I'i' ^ iS 70 CHINESE MUSIC. "positive tones," are grouped together on the left side of the instrument; the ymliis, or " negative tones," are arranged on the right side. The notes produced by the tubes, according to their position, are the following : — ^' ^ 4 U U '^ ' S S, 6, 7, m i i t -^ b-J- F^ 10, II, 12, 13, 14, IS, 16. The p'ai-hsiao is used only in ritual music. Two are employed at the Confucian ceremonies, placed respectively on the east and west sides of the hall. The music performed by them is exactly the same as that of the stone chime. No. 30.— The Yileh (^) was a short flute with three holes, and blown at the end. Formerly it was used by the dancers, and was occasionally played to indicate their movements ; at present, although the dancers stiU use the yiieh in their evolutions, it is no longer a flute but simply a stick. No. 31. — The Gh'ih (^) is a flute measuring about 14 inches in length. It is now blown transversely, but was formerly blown in the middle. The number of holes varies between 6 and 10, and even more. It has gradually become obsolete, its place being taken by simpler instruments. No. 32. — The Hsiao (||).is said to have been invented by a certain JR (^ (Yeh Chung) during the Han dynasty. This flute is a tube of dark brown bamboo, measuring about 1.8 feet in length. It has five holes above, one below, and one at the end, through which it is played. Flutes of this kind were formerly made of copper, of jadestone, or of marble, such materials being thought less liable than wood to be affected by changes of temperature. They were introduced into ritual music during the Yiian dynasty (circa AD. 1300); and under the present dynasty their use has been confined to ritual music. At the Confucian ceremonies there are six hsiao, placed immediately outside the hall, on the " Moon Terrace." The music which they perform is exactly the same as that of the other instruments, but it is noted in a different manner. The following is the ordinary scale of the hsiao : — 1 "^ 1 1 T i ^ ;l ••» ± IK \x M i^< m (K foreign D). These notes are produced by stopping the holes one after the other, just as with European flutes. CHINESE MUSIC. 71 No. 33. — The Ti-tz'& (!§■ J-) is the flute ordinarily met with ia China. It is a tube bound round with waxed silk and sometimes ornamented with tassels. It has eight holes : one to blow through, one covered with a thin reedy membrane, and six to be played upon by the fingers. There are, besides, several other holes at the end, but these are of no practical use except to attach the silk tassels and other ornaments. The fingering of this instrument is of course the same as that of all instruments of the flute kind, and the notation is the same as that of the hsiao, except that the ti-tzU is a fourth higher. This is the scale : — 5 1111^ ^^ ( A^ ^ foreign A, 902 vibrations per second). The sounds emitted by Chinese flutes cannot properly be rendered in European notation, some being sharper and others flatter than the sounds represented by our notes ; but this may be due as much to the ignorance of instrument-makers as to the irregularity of the intervals of the Chinese scale. Besides, the Chinese are not very particular in regard to pitch, and any shocking deficiency in justness of tone they manage to remedy by blowing harder or softer. 72 CHINESE MUSIC. The ti-tz'& is indispensable to every Chinese orchestra; it is used in theatrical performances, in funeral and marriage processions, and on various other occasions, both joyous and mournful. It is also one of the favourite instruments of courtesans. Formerly all kinds of flutes blown transversely were called 'g (ti). There were the ch'iang-ti {% H), the shepherd's flute; the ^ ^ (Mng-ti), the transverse flute; the ^ % {oh'ang-ti), and the ^ 1^ (tuan-ti), the long and the short flute. Some had four holes, some five, and some seven. Nowadays the form and number of holes of the ti-tzii are in all cases much the same. The only difference between the popular instruments and the flutes used in ritual music is that the latter are embelhshed with a dragon's head and a dragon's tail, an addition not permitted in the case of ordinary instruments. Flutes thus adorned are called H U (lung-ti), dragon flutes. Of these, six are used at the Confucian ceremonies; they are placed, together with the hsiao, three on each side. No. 34. — The Kuan-tz-Q, (^ ^) is a small tube about 8 inches long. It has seven holes above and two below. It is blown by means of a coarsely made reed inserted at the upper end. Its sound cannot be said to be pleasing, at least to foreign ears. It is used mostly in funeral or marriage processions. It produces the following scale : — J ^ y ^ i ^=^ ^ O CD PL. ± n R ;l /\ \L {h 3 o •S p.. c ^1 P & ^ ' 2 a !^ ^ CD P ni CO P en &. The intervals of this scale suffer from the same defects as those of the ti-tzU. The £j (hou) is an ancient note no longer used. The J^ (or G) of this scale corresponds as nearly as possible to the European A (902 vibrations per second). No. 35. — The So-na (^^ p^) — known to foreigners as the "Chinese clarionet" — is the most shrieking, the most detestable instrument used in China ; and yet none is in more general use. When heard in the morning its sounds unmistakably announce a funeral cortege ; in the afternoon, a nuptial procession. CHINESE MUSIC. 73 The so-na consists of a wooden pipe fitted with a copper bell. It has seven holes on the upper side and one on the lower for the thumb. The mouthpiece is a small reed (like that of the European oboe) affixed to the upper end. It gives he following scale : — ^^ t There are two varieties, differing only in size ; the smaller kind is called H ^ (k'ai-ti). The X Ocung) (or A) of the so-na is nearly identical with our A (902 vibrations per second). The tunes played on this instrument at processions are in themselves very pretty and original, but the instrument is so false, and the ignorant player blows with so little regard to justness and softness, that it requires indeed great attention to detect and note them. S". WOOD. It is not known to whom the introduction of wooden instruments in music may be attributed, but wood is one of the productions of Nature so useful to man that it must have been given a place ia music from the earliest ages. No. 36. — The Ghu (|5l) resembles a square box, but it is larger at the top than at the bottom. It should measure at the top 2.4 feet on each side, and at the bottom 1.8 feet. The height should be also 1.8 feet. But these dimensions are not adhered to. In the middle of the box there is a hammer, so contrived as to move right ^nd left ; and in one of the sides is a hole through which to pass the hand. The ancient chu was made of ^ ||| (wu-t'ung) wood. The interior is painted yellow, and the sides blue, red, black, and white. It is adorned with landscapes, figures of fabulous animals, etc. It is used only at religious ceremonies. At 74 CHINESE MUSIC. the Confucian temple there is one only, placed on the east side of the hall. It gives two sounds at the beginning of each strophe. No. 37. — The Yii, (gj;) has the form of a tiger resting on a rectangular box. It should be 3.6 feet in length, 1.8 feet in width, and i foot high. The tiger has on its back 27 teeth, resembling a saw. At the end of each strophe the attendant strikes the tiger three times on the head, and rapidly passes his stick three times along the projections on the back, to annoimce the end of the strophe. The yii is placed on the west side of the Confucian hall. No. 38. — The P'ai-pan (fg ^), or " castanets," are two small slabs of a kind of red-wood iW. /t») attached together with silk cord, and on which a third slab of the same kind of wood is struck to beat time. These are ia common use in popular orchestras. An ancient kind of Castanet consisted of 12 smaU slabs of bamboo fastened together, upon which poetry was engraved; it was named § Ifg (ch'un-tu), and was used at religious ceremonies. Nowadays the ch'un-tu has been replaced at the Confucian ceremonies by another kind of castanet called ^ j}^ (shou-pan). The slabs of the shou-pan are of ^ (huai) wood, 1.35 feet long, -j^ inch thick, 2.5 inches broad at the lower 'end, and only 2 inches at the upper end. The words of the hymn are engraved on it. Each of the six singers has charge of one shou-pan; at each word they strike the slabs against the palm of the hand. No. 39. — The Mu-yii (jfc ^,) or " wooden fish," is made of a block of wood hoUowed out and shaped somewhat like a skull. It is painted red all over, and is of all sizes, up to i foot in diameter. It is used by priests to mark time in the recitation of prayers when begging from door to door or in performing their ceremonies. CHINESE MUSIC. 75 6°. SKIN. From the remotest ages the Chinese seem to have been acquainted with instruments of percussion, of which the tanned skin of animals was the vibrating medium. Drums made of baked clay, filled with bran and covered with skin, were the first in use. The idea of drums seems, however, to have come from the nations of Central Asia.^ Of all the Chinese drums none are braced by cords ; the skin is fastened on with nails. No. 40. — The Ghin-hu (^ ^S) i^ ^-^^o called ^ ^" st (Ta-ch'eng-ku), because it is ordinarily placed on the left side of the Ta-cU'eng ga.te. At the Peking Confucian temple it is suspended in the eastern pagoda, and corresponds to the large bell hung in the western pagoda. It is about ,5 feet in diameter. No. 41. — The Ying-hu {^ ^) is a drum suspended in a frame by four rings and beaten on the upper surface with two sticks. It is about 3 feet high and 2 feet in diameter. It is richly painted and ornamented with birds, dragons, flowers, etc. Its place at the Confucian worship is on the east side of the "Moon Terrace." It is beaten three times at the end of each verse. Under the Sui (f^) dynasty this kind of drum was called ^ ^ (chien-ku). mmm'^y^^- 10 76 CHINESE MUSIC. No. 42. — The Tsu-lcu (J£ ^), also called Jg ^ (ymg-Jcu) is a large drum, used at the Confucian ceremonies to correspond with the ying-hu. It is placed on the west side of the " Moon Terrace," and is struck six times at the end of each verse, giving two beats in answer to each of the three beats of the ying-hu. ' The tsu-ku is not quite so large as the ying-hu, and it is supported horizontally by a pedestal which raises it about 4 feet from the ground. For a long time this drum was out of use; but it reappeared again in the 13th year of Ch'ien Lung (A.D. 1748). No. 43. — The Po-fu (JJ f^') i^ ^ small drum 1.4 feet in length, and 7 inches in diameter. The table on which it rests is i foot high. The po-fu is used only in reHgious ceremonies. At the Confucian temple there are two — one on the left, the other on the right side of the hall. In playing, the performer holds the drum on his knees and beats it with the hands. The po-fu gives three notes at the end of each verse answering to the two notes of the tsu-ku. The following are the three beats with the notation : — (^ Beat the drum with the right hand. ^ „ „ „ both hands. CHINESE MUSIC. 77 No. 44.— The- T'ao-Jcu (|^ f^) has a handle passing through the barrel. Two balls are J suspended by strings from the barrel, and when the drum is twirled they strike against the 78 CHINESE MUSIC. heads. Of drums of this kind used at the Confucian ceremonies there are two, placed on the east and west sides respectively ; they are sounded three times at the end of each verse. They measure i foot in length and i foot in diameter. Anciently, the t'ao-ku used in ritual music was composed of two or more drums transfixed by a handle ; sometimes it was composed of several small drums hung together upon a frame, and struck only on one head by the balls,. Such drums are now out of use. The t'ao-Jeu is the special instrument by means of which the itinerant vendor of millinery goods makes known his whereabouts ; but his drum is smaller and has generally a small gong on the upper side. CHINESE MUSIC. 79 No. 45.— The Pang-ku (f P ^) is a small flat drum, with a hody of wood ; the top is covered with skin and the bottoin is hollow. The diameter of the head is about 6 inches. It rests on a wooden tripod. It ,is chiefly used in popular orchestras to beat time and accompany songs and ballads. Besides the drums here enumerated, the Chinese possess several other kinds, varying from S inches to several feet in diameter. They have the "tambour de basque," the tambourine, and barrel drums of all kinds ; some are richly ornamented with silk piece goods, some very simple and unadorned ; but it would take too much space to describe them all. 7°. GOURD. The gourd was introduced among the musical instruments by the ancient Chinese to represent plants and herbs. It is called f| (p'ao), and its shell is at once thin and hard. Its hollow form rendered it available, and they made the sheng. Nowadays, however, wood has been substitued for the calabash, a change which does not seem to have made much difference in the sound. No. 46. — The SMng (|g) is an instrument intended to symbolise the feng-huang or Phoenix. The body or wind-chest is made of gourd, or simply of wood, and in its upper part tubes of different length are inserted. These tubes are of five different lengths, and are so arranged as to resemble the tail of a bird, the middle tubes being the longest. The length of the tubes does not, however, make the sounds graver, for several of them have an aperture at a distance from the top which renders their length ineffective. The tubes in the lower portion are furnished with reeds exactly like those of our accordions ; a little above the reeds the tubes are pierced so as to prevent their sounding, except by stopping the holes. 80 CHINESE MUSIC. Dr. F. Warkington Eastlake, whose -designs of the different forms of the sMng I have here inserted, has made, a special study of this instrument and has written extensively on the subject.^ It is difficult to give a better and more complete description than his, and I will I " China Review,'' August 1882. CHINESE MUSIC. 81 therefore content myself with quoting the principal paragraphs of his work, only adding a few remarks where necessary : — "The invention of the sMng is shrouded with the obscurity of the mythical ages. Tradition attributes its invention to a mythical female sovereign who succeeded Fuh-hi, known as ^ jj^ (Nij-wo). Be this as it may, there can be no doubt that the sMng itself is of great antiquity ; for not only do we fin,d frequent mention of the instrument in the 'She' and 'Shoo-king,' but the commentators on ancient musical instni- ments invai-iably mention the great age of the sMng, and seem to delight in speaking of it as a proof of the inventive genius and musical talent of the ancient Chinese It may well be possible that the ^ ^ (p'ai-hsicKi) (which see) was the prototype of the sMng. The date of the invention of the p'ai-hsiao must at all events be earlier than that of the sMng, to which it bears unmistakable resemblance " From the Classics we learn that the sMng held a leading position among the instruments which were in favour at the Imperial Court : — ' When to the Prince our way we've made. We sit and hear the organs played." " The sheng is frequently mentioned in the ' She-king,' e.g. ' The lutes are struck, the organ blows Till all its tongues in movement heave.'^ ' The drums loud sound, the organ swells Their flutes the dancers wave.'^ "According to the 'Erh-ya" and 'Shuo-win,'^ there are, or rather were, two distinct forms of the sheng : the largest, and probably more ancient, known as the ^ (ck'ao), or ' bird's nest,' the smaller known as the |B (Ao), or 'concord' The scale of these two instruments must have been different, as the one had 19, the other 13 reeds ...... The modem sheng differs in many essential points from the ch'ao and ho The sheng consists of three separate parts, — the gourd, the mouth-piece, and the . . . tubes. In shape the gourd is very much like a tea-cup, and about as large It is (sometimes) perforated at the base and inlaid with a small piece of bone or ivory, also perforated The ' gourd ' was formerly made from a sort of calabash, but nowadays it is made of wood and lacquered. " The mouth-piece consists of two separate parts, — the mouth-piece proper, made of wood, lacquered and inserted into the gourd, and a bone or ivory plate which covers the free end "There are 17 pipes in all. Every pipe, except the non-sounding or mute, i, 9, 16, 17,' is composed of two pieces; the upper part bamboo, the lower part of some hard wood, probably teak. The lower part of each sounding-pipe is so cut as to admit of a small brass tongue, exactly after the model of European reed-tongues. The tongues ... are rudely fastened in with wax. Every sound-producing pipe has a slit on the inner side which serves to modify or intensify its tone. The tone of most of the reeds is rather sweet and soft, but some are harsh, and one or two almost inaudible. " Each sound-giving pipe has a ventage which must be stopped by the finger in order to produce the proper note. This ventage is on the outside of pipes 2, 5, 6, 7, 8, 10, 11, 12, 13, 14, 15 ; on the inside of pipes 3 and 4 The pipes represent in all 11 notes. Pipes 2 and 6 produce the same note; 12 gives the octave of 15, as does 13 of 14, and 11 of 7." ' " She-king", L, XI, i. ' II, I, i. ^ II,' VH, VI. '' An ancient dictionary of terms. 5 An ancient dictionary, published A.D. 100. 6 Counting from the farthest pipe on the right side of the mouth-piece, i, 2, 3, 4, etc. 82 CHINESE MUSIC. The scale I have myself ascertained to be as foUows : — ■ ■ ^ ' ^ Notes : K I ;l £ — ± 4R 11 1H. i/: Tubes : IS 7 s 14 4 3 2 12 II 10- 13 The JZ of the sAe'ngf is about our A (902 vibrations per second). At the Confucian ceremonies there are six sMng., three on the east and three on the west side of the hall. They play exactly the same music and the same notes as the ti-tzU, or " flute." The sMng is never used in popular orchestras ; at nuptial and funeral processions the sh4ng is sometimes seen, but it is there merely for form's sake, in accordance with the requirements of the rites, and the hired coolie who carries it simply simulates playing. Dr. Eastlake further says : — "One very rarely hears the sMng nowadays, on account of a curious superstition. The Chinese say that a skilful performer on the sMnff becomes so wedded to its music that he is ever playing; but the instrument is played by sucking in the breath, and a long continuance of this brings on inflammation of the bronchial tubes and diseases of the lungs. So no performer is ever known to live longer than 40 years ! The instrument, in playing, is inclined slightly towards the right shoulder ; the forefinger of the right hand commands pipes 3 and 4, the thumb 2, 5, 6, 7. The other pipes are controlled by the first and second fingers and thumb of the left hand. "That the sheng is one of the most important of Chinese musical instruments is apparent. No other instrument is nearly so perfect, either for sweetness of tone or delicacy of construction. The principles embodied in it are substantially the same as those of our grand organs. Indeed, according to various writers, the introduction of the sJieng into Europe led to the invention of the accordion and the harmonium. Kratzbnstbin, an organ-builder of St. Petersburg, having become the possessor of a sheng, conceived the idea of applying the principle to organ-stops " 8°. EARTH. It was of absolute necessity that earth, the common mother of all things, should occupy a respectable place in music, and therefore the hsiian was invented. No. 47. — The Hsuan (:l||), or " Chinese ocarina," was invented by P'AO Hsi (;g %) some 2,700 years before our era. CHINESE MUSIC. 83 It is a reddish-yellow cone of baked clay or porcelain, ornamented with designs of dragons, clouds, etc., and pierced with six holes : one at the apex to blow through, three in front, and two behind. When played, it is held firmly with both hands. According to a native description, it emits the following sounds : — i 5 A\ s R and at the Confucian ceremonies the two hsilan, placed one on the west and the other on the east side of the hall, play the same music as the hsiao flute. But as it is almost impossible to procure a specimen of this instrument, we have to rely on Chinese accounts of it. 11 84 CHINESE MUSIC. CONCLUSION. The question is often asked — Why does not Chinese music leave a better impression on the ears and minds of foreigners ? Most naturally because it has not been made for foreigners. But from a theoretical point of view we may say that it is because : — 1°. The intervals of the Chinese scale not being tempered, some of the notes sound to foreign ears utterly false and discordant. 2°. The instruments not being constructed with the rigorous precision which charac- terises our European instruments, there is no exact justness of intonation, and the Chinese must content themselves with an a peu pr^. 3°. The melodies being always in unison, always in the same key, always equally loud and unchangeable in movement, they cannot fail to a})pear wearisome and monotonous in comparison with our complicated melodies. 4°. Chinese melodies are never » definitely major nor minor; they are constantly floating between the two, and the natural result is that they lack the vigour, the majesty, the sprightliness, the animation of our major mode ; the plaintive sadness, the tender lamentations of our minor mode ; and the charniing effects resulting from the alternation of the two modes. It is incontestable that Chinese music compares unfavourably with. European music. From our point of view it certainly appears monotonous, even noisy — disagreeable, if you please ; but what matters this if the Chinese themselves are satisfied with it ? And that they are satisfied, that they like it, that it is a necessity for them, is fully proved by the constant use of music in their ceremonies and festivities; by the numerous bands parading the streets and offering their services; by the strict attention with which they listen to the ballad singers, — now exhibiting emotion at an affecting picture of suffering, now bursting into hearty laughter when the subject is of an amusing kind ; and finally, by the large variety of instruments which, although often played without taste or feeling, are nevertheless remarkable for their beautiful simplicity of form, and their extreme cheapness. According to the Chinese themselves, music proceeds from the heart of man ; it is the expression of the feelings of the heart. gMs^ig^ rf- ■*- 'tfi-' ;#. -.r-.^-l.s' ." . .T'^