G G e e n n e e r r a a t t e e d d f f o o r r k k e e v v i i n n . . o o n n e e i i l l 2 2 ( ( M M c c G G i i l l l l U U n n i
i v v e e
r r s s i i t t y y ) ) o o n n 2 2 0 0 1 1 4 4 - - 0 0 4 4 - - 0 0 6 6 1 1 6 6 : : 4 4 2 2 G G M M T T / / h h t t t t p p : : / / / / h h d d l l . . h h a a n n d d l l e e . . n n e e t t / / 2 2 0 0 2 2 7 7 / / m m d d p p . . 3 3 9 9 0 0 1 1 5 5 0 0 6 6 8 8 7 7 6 6 1 1 3 3 2 2 2 2 P P u u b b l l i i c c D D o o m m a a i i n n , , G G o o o o g g l l e e - - d d i i g g i i t t i
i z z e e
d d / / h h t t t t p p : : / / / / w w w w w w . . h h a a t t h h i i t t r r u u s s t t o o . . r r g g / / a a c c c c e e s s s s__ u u s s e e # # p p d d - - g g o o o o g g l l e e
Chinese music.
Chinese music.
Los Angeles, Calif. : Quon-Quon-Co., c1944.
Los Angeles, Calif. : Quon-Quon-Co., c1944.
http://hdl.handle.net/2027/mdp.39015068761322
http://hdl.handle.net/2027/mdp.39015068761322
Public Domain, Google-digitized
Public Domain, Google-digitized
h t t p : / / w w w . h a t h i t r u s t . o r g / a c c e s s _ u s e # p d - g o o g l e
h t t p : / / w w w . h a t h i t r u s t . o r g / a c c e s s _ u s e # p d - g o o g l e
This work is in the Public Dom
This work is in the Public Dom ain, meaning that it is
ain, meaning that it is
not subject to copyright. Users are free to copy, use,
not subject to copyright. Users are free to copy, use,
and redistribute the wo
and redistribute the wo rk in part or in w
rk in part or in w hole. It is possible
hole. It is possible
that heirs or the estate of the authors of individual portions
that heirs or the estate of the authors of individual portions
of the work, such as illustrations, assert copyrights over
of the work, such as illustrations, assert copyrights over
these portions. Depending on the nature of subsequent
these portions. Depending on the nature of subsequent
use that is made, additional rights may need to be obtained
use that is made, additional rights may need to be obtained
independently of anything we can address. The digital
independently of anything we can address. The digital
images and OCR of this work were produced by Google,
images and OCR of this work were produced by Google,
Inc. (indicated by a watermark on each page
Inc. (indicated by a watermark on each page in the
in the
PageTurner). Google requests that the images and OCR
PageTurner). Google requests that the images and OCR
not be re-hosted, redistributed or
not be re-hosted, redistributed or used commercially.
used commercially.
The images are provided
The images are provided for educational, schol
for educational, scholarly,
arly,
non-commercial purposes.
G G e e n n e e r r a a t t e e d d f f o o r r k k e e v v i i n n . . o o n n e e i i l l 2 2 ( ( M M c c G G i i l l l l U U n n i
i v v e e
r r s s i i t t y y ) ) o o n n 2 2 0 0 1 1 4 4 - - 0 0 4 4 - - 0 0 6 6 1 1 6 6 : : 4 4 2 2 G G M M T T / / h h t t t t p p : : / / / / h h d d l l . . h h a a n n d d l l e e . . n n e e t t / / 2 2 0 0 2 2 7 7 / / m m d d p p . . 3 3 9 9 0 0 1 1 5 5 0 0 6 6 8 8 7 7 6 6 1 1 3 3 2 2 2 2 P P u u b b l l i i c c D D o o m m a a i i n n , , G G o o o o g g l l e e - - d d i i g g i i t t i
i z z e e
d d / / h h t t t t p p : : / / / / w w w w w w . . h h a a t t h h i i t t r r u u s s t t o o . . r r g g / / a a c c c c e e s s s s__ u u s s e e # # p p d d - - g g o o o o g g l l e e
I V E R S 1T O F MC H I G A N I B R A R I E S G e n e r a t e d f o r k e v i n . o n e i l 2 ( M c G i l l U n i v e r s i t y ) o n 2 0 1 4 - 0 4 - 0 6 1 6 : 4 2 G M T / h t t p : / / h d l . h a n d l e . n e t / 2 0 2 7 / m d p . 3 9 0 1 5 0 6 8 7 6 1 3 2 2 P u b l i c D o m a i n , G o o g l e - d i g i t i z e d / h t t p : / / w w w . h a t h i t r u s t o . r g / a c c e s s_ u s e # p d - g o o g l e
C H I N E S E MU I Music—themagnetoffellowship d i t e d f or a n d C o p y ri g h t ed , 1 9 4 4 by Q U O N - Q U O N C O M PA N o t A n g e l e s , C a l i f . G e n e r a t e d f o r k e v i n . o n e i l 2 ( M c G i l l U n i v e r s i t y ) o n 2 0 1 4 - 0 4 - 0 6 1 6 : 4 2 G M T / h t t p : / / h d l . h a n d l e . n e t / 2 0 2 7 / m d p . 3 9 0 1 5 0 6 8 7 6 1 3 2 2 P u b l i c D o m a i n , G o o g l e - d i g i t i z e d / h t t p : / / w w w . h a t h i t r u s t o . r g / a c c e s s_ u s e # p d - g o o g l e
PageTwo G e n e r a t e d f o r k e v i n . o n e i l 2 ( M c G i l l U n i v e r s i t y ) o n 2 0 1 4 - 0 4 - 0 6 1 6 : 4 2 G M T / h t t p : / / h d l . h a n d l e . n e t / 2 0 2 7 / m d p . 3 9 0 1 5 0 6 8 7 6 1 3 2 2 P u b l i c D o m a i n , G o o g l e - d i g i t i z e d / h t t p : / / w w w . h a t h i t r u s t o . r g / a c c e s s_ u s e # p d - g o o g l e
//Z ^ TH E O L DS T MUI C I N TH E W O R LD. M e r el y l e g e nd a r y i s a p h r a s e wh i c h s ho u l d b e w ri t t e n withreluctance toooften,withregardtotraditional material,suchacommenthasbeenacceptedasadeuate i n d i su a l i fi c a t io n a n d d i sm i s s al .n t h i s c o nn e c ti o n , w e h a v e t he ea m p l e fu r n i sh e d b y t h e s to r y o f t h e o ri g i n o f hinesemusic. T h e l e ge n d r u n s t h a t t h em p e r or , H u a n g- t i ( c i rc a 2 6 9 7 B . C . ) , s e nt h i s m i n i st e r ,i n g - lu n , t o t h eu e n l un M o u nt a i n s i n n or t h we s t C h i n at o c u t a p i t ch - p i pe f r o m aspeciesofbamboowhichgavethenormalpitch-note,
uang-chung. Probablythetrueraspectofthis min-isterialmission,however,issuggestedbytherecent archaeologicaldiscoveryofagreat centerofancient civilizationinanareacontiguoustonorthwestChina, andstillmorerecentdiscoveriesofrelatedancientcivi-lizationsdefinitelyrankingascoloniesofthatamazing center. l l o f w h i ch l e a d s t o t he p o i n t t ha ti n g - lu nso u r n ey totheuenlunMountainsatthatparticulardatetook himclosetothecenterand sourceofoneofthegreatest, highest,andmostancientcivilizationsyetknownto M a n t h a t h e s ou g h t t h e i nf o r m at i o n h e r e u i r e d a t t he PageThree G e n e r a t e d f o r k e v i n . o n e i l 2 ( M c G i l l U n i v e r s i t y ) o n 2 0 1 4 - 0 4 - 0 6 1 6 : 4 2 G M T / h t t p : / / h d l . h a n d l e . n e t / 2 0 2 7 / m d p . 3 9 0 1 5 0 6 8 7 6 1 3 2 2 P u b l i c D o m a i n , G o o g l e - d i g i t i z e d / h t t p : / / w w w . h a t h i t r u s t o . r g / a c c e s s_ u s e # p d - g o o g l e
spotwherehewaslikeliestto findit— anddidfindit. urther,itmaybesuggestedthat,somewhereonthe s o u t he r n f a ce o f t h eu e n l un s i n o l d C h i n a , t h e re m a y yetbeunearthedonemoreoutpostof thatancient culturetoaffordonemoreproofthat theC hinesewere andarethecontinuingheirsof muchthatpertainedtoa h i g h c i vi l i z a ti o n w h i ch ei s t e d b ey o n d 5 00 0 B . C . , a n d didnotneedto gobeyondtheconfinesoftheirempire fortheirmusic— theoldestintheworld.
ung-lunreturnedwiththepitch-pipe and,while thepoeticC hinesestoryisthatpipes werethenevolved which,whenblowninto,wouldgiveforththenotesof themaleandfemalePhoeni,thatlegendarybirdwhich rankssohighlyinChinesemythology,thepracticalfact i s t h a t t h er e w a s d e ve l o p ed s o o n a f te ri n g - lu ns r e t u r n asystemofmusicwhichnotonly constitutesthebasis ofallmusicin theworldbutwhichindays nowre-gardedasalmostshadowedinanti uitysolvedwithac-curacythemathematicalandphysicalpropertiesof acoustics,forwhichlatterfactwehavethetestimony oftheworldsgreatestauthorityonsound:andthe developmentwassolelyC hinese.Thereisnothingof legendaboutthat.TheChinesehadthediatonicscale— comingnowtocomparativelymoderntimes—si hun-d r e hun-d y ea r s b e f or e i t w a s c o mp l e t ed i nu r o p e, a n d a sol-fasystemwhichwasatleasteighthundredyears oldwhenCurwenbeganhisin1840. PageTout G e n e r a t e d f o r k e v i n . o n e i l 2 ( M c G i l l U n i v e r s i t y ) o n 2 0 1 4 - 0 4 - 0 6 1 6 : 4 2 G M T / h t t p : / / h d l . h a n d l e . n e t / 2 0 2 7 / m d p . 3 9 0 1 5 0 6 8 7 6 1 3 2 2 P u b l i c D o m a i n , G o o g l e - d i g i t i z e d / h t t p : / / w w w . h a t h i t r u s t o . r g / a c c e s s_ u s e # p d - g o o g l e
TheancientC hinesescalehasfivetones:ung(C ), h a ng ( D ), C h i a o () , C h i h ( G) , a ndu ( A ) . A t t h e t i m e o f t he C h o u d y na s t y ( 11 2- 2 5 5 B . C . ) , t w o fu r -thernoteswereadded:Pien-chih(()andPien-kung ( B ) .a c h n o te o f t h i s s c al e o f f i v e o r s ev e n n o te s c a n beusedasa primarynote,givingfiveorsevenmodes.As eachofthesefiveorsevenmodes canbetransposedin twelveways,therearesityoreighty-fourkeysin hinesemusic. g e t u r ni n g f o r a m om e n t t o t he m i s s i on o fu n g - lu n andthepipeswhichgavethenotes ofthePhoeni,we a r e t o l d t ha t t h e se b i r d s h a d a s ca l e o f s i n o t e s, t h e m a l e beginningwithwhatweknowasC,andascendingin f u l l t o ne s t o A ; a n d t h e f em a l e, b e g i n ni n g w i t h C s h a r p, a s c en d e d b y f ul l t o n e s t o B . As t h e b i r d s we r e b e l ie v e d tosoundthenotesalternately,theyproducedachromatic scaleoftwelvesemitones. P a gei v e G e n e r a t e d f o r k e v i n . o n e i l 2 ( M c G i l l U n i v e r s i t y ) o n 2 0 1 4 - 0 4 - 0 6 1 6 : 4 2 G M T / h t t p : / / h d l . h a n d l e . n e t / 2 0 2 7 / m d p . 3 9 0 1 5 0 6 8 7 6 1 3 2 2 P u b l i c D o m a i n , G o o g l e - d i g i t i z e d / h t t p : / / w w w . h a t h i t r u s t o . r g / a c c e s s_ u s e # p d - g o o g l e
TheveryancientmusicofChinaissaidto havebeen l o s t i n t h e T hi r d C e n t u r y B . C . , w h e n t h em p e r io r Tsing-hiHwanghadallrecordsandbooksburnedin h i s p u r po s e f uld e s t ru c t i on o f a l l p r e ce d e n ts" b u t C h i n a h a s p r e se r v ed i m p o rt a n t w or k s , a nd i no T s z t h e r e is a descriptionofanancientformofworshipof heaven andearthinwhichtwelveinstrumentsplayedthefol-lowingnoteswhilevoicessangalternatenotes: N o t e b fn s tr u me n ts 9r —i o t e s b y V o i c e s « ^ f- f " b — 1 Theinstrumentsplayinginthetwelvedifferentscales ascendedinaprogressionofperfectfourths,whilethe voices,alsosingingthetwelvedifferentscales,descended inperfectfifths:allthis inthemannerofthe Phoeni ofpoesyandwonder-tale. Despitetheactivitiesofthedestroyerof precedents, weknowthat,priortothe timeofConfucius,therewere i n ei s t e nc e : ThetwelvesemitonescomprisinganO ctave Thefivenotesofthe ancientPentatonicscale ightdifferentsound-producinginstruments i differentceremonialdanceswithmusicalaccom-paniment. P ag ei G e n e r a t e d f o r k e v i n . o n e i l 2 ( M c G i l l U n i v e r s i t y ) o n 2 0 1 4 - 0 4 - 0 6 1 6 : 4 2 G M T / h t t p : / / h d l . h a n d l e . n e t / 2 0 2 7 / m d p . 3 9 0 1 5 0 6 8 7 6 1 3 2 2 P u b l i c D o m a i n , G o o g l e - d i g i t i z e d / h t t p : / / w w w . h a t h i t r u s t o . r g / a c c e s s_ u s e # p d - g o o g l e
urther,weknowthatmusicwasoneof theartsessen-tialthentorecognizedculturein theindividual that theproperagefora boytobeginthestudyof musicwas thirteenyears thattherewerenationalteachersofmusic. onfuciusaccompaniedhisownsongsinstrumentally. Themosthighlyualifiedauthoritiesareagreedthat initscharactertheancientmusicofhinawasofthat classofmusicwhichisthe magnetoffellowship—music oftheheart,gentle,hopeful, uesting,grieving,endur-ing—the musicofthekinandclan inlonelyplaces, inseparablefromitstwinofthe humanspirit,poetry. nlaterandmorecloselyorganizedlife ofthepeople, ritualandceremonialfoundtheplacewhichtheyhave a l w ay s f o u nd m u s i ca l i n s t ru m e nt s o f c o mp l ei t y f a r removedfromtheprimitivepipesofing-lunwere evolved theancientandnaturalsweetnessofthefolk-songgaveplacetothedesignedand theblatantincere-monial—thedifferencebetwentheattractionofthe groupthatisin naturalhumanharmonyandthemass thatmustbedrawnanddominated. hinesemusiciswrittenbymeansof verticalrowsof characters,withsignsdenotingrestsorpauses.Notes areflattedorsharpedas necessary,buttherearenever morethanfourteensoundsinanycomposition.imple commontimeandcompoundtimearebothused the t i m e m ar k s a r e X ( p a n ) an d a c i r c le O ( y e n) , t h e f i r st atthesideof theaccentednote,thesecondattheside of P a gee v en G e n e r a t e d f o r k e v i n . o n e i l 2 ( M c G i l l U n i v e r s i t y ) o n 2 0 1 4 - 0 4 - 0 6 1 6 : 4 2 G M T / h t t p : / / h d l . h a n d l e . n e t / 2 0 2 7 / m d p . 3 9 0 1 5 0 6 8 7 6 1 3 2 2 P u b l i c D o m a i n , G o o g l e - d i g i t i z e d / h t t p : / / w w w . h a t h i t r u s t o . r g / a c c e s s_ u s e # p d - g o o g l e
theunaccented.Other timemarksarefound,anydefi-nitesystemintheiremploymentbeingverydifficultto determine.v Theperformersofvocalmusicgenerallyuseahigh, headvoice,anasalfalsetto,singingwiththeclosed voice,whileepressingbyevolutions,movementsand attitudeswhatthevoiceandinstrumentssay.Thereare n o h a r mo n i z ed t u n e s i n C h i n e s e m us i c y e t t h er e w a s publishedinChinain1525a bookinwhichtherudi-mentsofharmonyweregiven.Theideaofharmony,it issaid,camefromthebarbaroushordesofthenorth. Moreprobably,itcamefromthenorthwest,andfrom peoplesfarfrombarbarous,aswehaveseen. smattersstand,Chinaalreadypossessesvoluminous musicalrecordsdatingbackovertwothousandyears,a factbefittingtheMotherofMusic therearenosuch recordselsewhereintheworld.TheDictionaryofMusic, oTien,aremarkableworkpublishedin1544,records thatTowung,ablindmusician,presentedtothe m p e ro r H i a o W e n - t i , i n A . D . 4 7 1 , a b o ok c o n t ai n i n g themathematicaltableofthetwelvesemitonesand modulator itwasoneof thebookswhichescapedthe destructivefuryofthezealotwho,inthe ThirdC entury . C . , s o u g h t t o w ip e c l e an t h e s l a t e of t h e p a s t a nd beginthelifeofhinaanew. Themodulatorreferredtoishistoricin itsimport-P a gei g ht G e n e r a t e d f o r k e v i n . o n e i l 2 ( M c G i l l U n i v e r s i t y ) o n 2 0 1 4 - 0 4 - 0 6 1 6 : 4 2 G M T / h t t p : / / h d l . h a n d l e . n e t / 2 0 2 7 / m d p . 3 9 0 1 5 0 6 8 7 6 1 3 2 2 P u b l i c D o m a i n , G o o g l e - d i g i t i z e d / h t t p : / / w w w . h a t h i t r u s t o . r g / a c c e s s_ u s e # p d - g o o g l e
a n c e.t i s t h e o l d s c al e o f s e v en n o t e s w it h t h e s e mi -tonesbetweenthefourthandfifth,identicalin princi-p l e w i t h t he C u r w en m o d u la t o r o f 1 84 0 .u r t h er , t h e r e i s et a n t t h e re c o r d of t h e w o r k ofz - M a- C hi e n , w ho d i e d i n 8 B . C. H e g a v e t h e l en g t h o f t he p i t c h -p i p e s f or producingthefivenotesoftheChinesescale:Do(C), 8 1 Re ( D) , 72 M i ( ) , 6 4 o l (G ), 5 4 a ( A ) , 48 . tartingwith81,andsubtractingone-thirdandadding one-thirdalternately,hefoundthevaluebyfifths.The s c h ol a r s o f t h e H a n d y n a st y ( 2 0 6 B . C . - A . D . 1 9 0 ) , u se d thesamerulein developingthetwelvesemitones,and weuseitin reckoningvibrationsandintuningbyfifths. TheC hineseinthosedistantdayswereaware,also,of thedifferencebetweenapipeandastring producing thesamesound. t i s c l a i me d t h a t t h e W e s t w ou l d h a v e fo u n d i t se l f i n naturalkinshipwiththatveryancientmusic,andgreater understanding.Thereisgoodgroundfortheclaim.The PentatonicscaleofancientC hina,uponwhichC hinese nativeairsareforthe greaterpartfounded,notonlycon-stitutesthebasisofall themusicoftheWest—a modern thingascomparedwiththatofChina—butis thebasis o f t h e m u si c o f t h e A m e r i c ann d i a n an d o f a l l A f r i c a alongthewideeuatorialbeltwhichstretchesfromthe a n c ie n tu n g l e- c h ok e d C h i n e s e c i ty o n t h e i s l an d o f M a f i a of f t h e c o as t n e a r Z a n z i b a r, t o t h eW h i t e m a ns g r a v e o f t h e W e s t e r n s ea b o ar d o f A f r i ca . P a g e N i n e G e n e r a t e d f o r k e v i n . o n e i l 2 ( M c G i l l U n i v e r s i t y ) o n 2 0 1 4 - 0 4 - 0 6 1 6 : 4 2 G M T / h t t p : / / h d l . h a n d l e . n e t / 2 0 2 7 / m d p . 3 9 0 1 5 0 6 8 7 6 1 3 2 2 P u b l i c D o m a i n , G o o g l e - d i g i t i z e d / h t t p : / / w w w . h a t h i t r u s t o . r g / a c c e s s_ u s e # p d - g o o g l e
t o n en s t r um e n t PageTen G e n e r a t e d f o r k e v i n . o n e i l 2 ( M c G i l l U n i v e r s i t y ) o n 2 0 1 4 - 0 4 - 0 6 1 6 : 4 2 G M T / h t t p : / / h d l . h a n d l e . n e t / 2 0 2 7 / m d p . 3 9 0 1 5 0 6 8 7 6 1 3 2 2 P u b l i c D o m a i n , G o o g l e - d i g i t i z e d / h t t p : / / w w w . h a t h i t r u s t o . r g / a c c e s s_ u s e # p d - g o o g l e
C H I N E S E MUI C A L N S TR UM N T Thereare130kindsof musicalinstrumentsinC hina. Thatfigureisinclusiveofsome ofcomparativelyrecent type,severalofwhichshowcertainadaptationsofO cci-d e n t al i d e a s .n t h e o l d er l i s t s , s pe c i fi c a l ly C h i n e se , w e find72,dividedintoeightcategories butmanyofthese olderformsarenolongeri nuse.Theeightdivisionsare: 1 .t o n e — C h i m e s a n d p r ay e r - st o n es o f s o n o r ou s stone. 2.Metal—B ells,gongs,gong-chimes,cymbals,trum-pets. 3 .t r i n g ed — Lu t e , p s al t e r y, b a l l oo n g u i t ar , t h r e e-stringedguitar,moonguitar,four-stringedviolin, two-stringedviolin,harpsichord.dU>< -t< 4.B amboo—Pandeanpipes,ceremonialflute,com-monflute,smallflute,clarionet. 5 . W o o d — So n o ro u s b o, m u s i ca l t i g e r, c a s t an e t s, woodenfish. 6 .k i n — L a r g e b ar r e l -d r u m , sm a l l b a rr e l - dr u m , rattle-drum,flat-drum. 7 . G o u rd — Re e d o r ga n . 8 . C l a y — Oc a r in a . P a gel e ve n G e n e r a t e d f o r k e v i n . o n e i l 2 ( M c G i l l U n i v e r s i t y ) o n 2 0 1 4 - 0 4 - 0 6 1 6 : 4 2 G M T / h t t p : / / h d l . h a n d l e . n e t / 2 0 2 7 / m d p . 3 9 0 1 5 0 6 8 7 6 1 3 2 2 P u b l i c D o m a i n , G o o g l e - d i g i t i z e d / h t t p : / / w w w . h a t h i t r u s t o . r g / a c c e s s_ u s e # p d - g o o g l e
TheC hinese,inmakingandenoyingtheirmusic,hear morethanthenoteproducedbythe instrument.tis t h eu a l i t y of a n o l d p e op l e t h a t wi t h t h e h e ar i n g o f t h e notetherecomestothemfull realizationofitssignifi-canceinmentalpictureandinspiritual appreciation. Thereismorein musicthantheenoymentorsheer narcotismofsoundassuch,tothe hinese,forthecen-turiesduringwhichpoetryandmusicwereoneto them weremanycenturies,andtheywereaveryold civiliza-tionbeforethePolarice-caphadthawedcompletelyfrom thefaceoftheWesternearth. venintheirphysicalforms,themusicalinstruments ofC hinahavebeengivensymbolicsignificance.or ea m p le , t h eh e n g ( r ee d o r g an ) i s e m b le m a ti c o f t h e P h o en i. T h e c a rp e n t ers su a r e i s t y pi f i e d i n t he s o u n d-ing-stone,whichalsosignifiesthelifeofcare anddis-cretion,usticeanduprightness.Theguitarwasshaped i n h o n o r of t h e m o o n.n t h e l u t e t h er e i s t h e s y mb o l ofmatrimonialharmony.A ndthefluteis theemblem o f o n e o f t h ei g h tm m o rt a l s , H a n H s i a n g- t z u . TheC hinesemademusicfrommanythings.O ne findsinstrumentsofade,tortoise-shell,redivory,the barkofthebeechtrees,the coconut,andevenofcertain l e a v es .t i s r e c o r de d t h a t H w a n g - ti ( 2 3 5 3 B . C . ) , h a d thelyre,thelute,and stringedinstrumentsoffromfive tofiftystrings inwhichconnection,wereferthereader PageTwelve G e n e r a t e d f o r k e v i n . o n e i l 2 ( M c G i l l U n i v e r s i t y ) o n 2 0 1 4 - 0 4 - 0 6 1 6 : 4 2 G M T / h t t p : / / h d l . h a n d l e . n e t / 2 0 2 7 / m d p . 3 9 0 1 5 0 6 8 7 6 1 3 2 2 P u b l i c D o m a i n , G o o g l e - d i g i t i z e d / h t t p : / / w w w . h a t h i t r u s t o . r g / a c c e s s_ u s e # p d - g o o g l e
G e n e r a t e d f o r k e v i n . o n e i l 2 ( M c G i l l U n i v e r s i t y ) o n 2 0 1 4 - 0 4 - 0 6 1 6 : 4 2 G M T / h t t p : / / h d l . h a n d l e . n e t / 2 0 2 7 / m d p . 3 9 0 1 5 0 6 8 7 6 1 3 2 2 P u b l i c D o m a i n , G o o g l e - d i g i t i z e d / h t t p : / / w w w . h a t h i t r u s t o . r g / a c c e s s_ u s e # p d - g o o g l e
totheopeningparagraphofthis booklet,inwhichhas beensuggestedthesuddendiscoverybytheheartof hinaoftheresourcesandadvancesincultureactually eistingwithintheremoteareasofher ownempire,the landsbeyondtheranges. ThedivisionofChinesemusicintosacredandsecular classestookplaceofficiallyduringtheuidynasty(A .D. 589-618).MusicfortheatricalpurposesinChinahasa historywhichvanishesinthelostages, andorganized performances,whichappearedaboutA.D.720,are thereforecomparativelymodern.Dramacametothe forein1280,andthe inseparablemusicfromitwas givenaplaceofgreaterprominencebythe evolutionof hineseopera,notyetunderstoodbytheWest.The operadependsalmostwhollyuponthemake-upofthe actor hiseverygesture,eventotheslightestmovement o f t h e s l ee v e , h as a m e a n i ng a l l i t s o w n .n C h i n a i t i s s a i d :o r t h er n C h i n e se p e o p le g o t o l i s t e n to t h e o p e ra , thoseofthesouthgo toseeit. Theactorsingsaccord-ingtohis ownfeelingandhisownideasof interpreta-tion,whiletheorchestraaccompanieshiminunison and, asthereisno standardpitch,theinstrumentsaretuned tosuitthevoiceof thesinger.
llinall, theworldmaywellgivethanksfor the M o t h er o f M u s i c a nd t h e m i s s io n o fu n g - li n . P a g eo u r t ee n G e n e r a t e d f o r k e v i n . o n e i l 2 ( M c G i l l U n i v e r s i t y ) o n 2 0 1 4 - 0 4 - 0 6 1 6 : 4 2 G M T / h t t p : / / h d l . h a n d l e . n e t / 2 0 2 7 / m d p . 3 9 0 1 5 0 6 8 7 6 1 3 2 2 P u b l i c D o m a i n , G o o g l e - d i g i t i z e d / h t t p : / / w w w . h a t h i t r u s t o . r g / a c c e s s_ u s e # p d - g o o g l e
a l l o on G u i t ar 3t r i n ge d G u i t ar M o o n G ui t a r 2t r i n ge d V i o l i n 4t r i n ge d V i o l i n H a r p s i ch o r d P a g ei f t e en G e n e r a t e d f o r k e v i n . o n e i l 2 ( M c G i l l U n i v e r s i t y ) o n 2 0 1 4 - 0 4 - 0 6 1 6 : 4 2 G M T / h t t p : / / h d l . h a n d l e . n e t / 2 0 2 7 / m d p . 3 9 0 1 5 0 6 8 7 6 1 3 2 2 P u b l i c D o m a i n , G o o g l e - d i g i t i z e d / h t t p : / / w w w . h a t h i t r u s t o . r g / a c c e s s_ u s e # p d - g o o g l e
h i n e se C l a s s i cs i n M i n i at u r e hineseProverbs. Thetoryofade.
h i n e sey m b ol i s m a n du p e r st i t i o n. TheR omanceofC hineseMetalA rt.
r o n z e, B r a s s , C l o i s o nn e , C o p p e r , Pewter.
hinesePotteryandPorcelain. h i n e se R e l i g i ou s B e l i e fs . K u a ni n Theegendsoftheightmmortals.
h i n e se C a r v i ng s . h i n e se M u s i c. h i n e se D o g s . h i n e se R e c i p es . h i n e se A s t r o l og y . TheC avalcadeofC hina. TheR omanceofC hineseWriting.
h i n e see s t i va l s . c l u si v e d i s tr i b u to r Q U O N - Q U O N C O M PA N 8 4 3o u tho s A n g e le st r ee t o s A n g e l e s 1 4 , C a l i f o r n ia P ag eit ee n G e n e r a t e d f o r k e v i n . o n e i l 2 ( M c G i l l U n i v e r s i t y ) o n 2 0 1 4 - 0 4 - 0 6 1 6 : 4 2 G M T / h t t p : / / h d l . h a n d l e . n e t / 2 0 2 7 / m d p . 3 9 0 1 5 0 6 8 7 6 1 3 2 2 P u b l i c D o m a i n , G o o g l e - d i g i t i z e d / h t t p : / / w w w . h a t h i t r u s t o . r g / a c c e s s_ u s e # p d - g o o g l e
UN I V E R S IT O F M C H IGA N 39015068761322 G e n e r a t e d f o r k e v i n . o n e i l 2 ( M c G i l l U n i v e r s i t y ) o n 2 0 1 4 - 0 4 - 0 6 1 6 : 4 2 G M T / h t t p : / / h d l . h a n d l e . n e t / 2 0 2 7 / m d p . 3 9 0 1 5 0 6 8 7 6 1 3 2 2 P u b l i c D o m a i n , G o o g l e - d i g i t i z e d / h t t p : / / w w w . h a t h i t r u s t o . r g / a c c e s s_ u s e # p d - g o o g l e
G e n e r a t e d f o r k e v i n . o n e i l 2 ( M c G i l l U n i v e r s i t y ) o n 2 0 1 4 - 0 4 - 0 6 1 6 : 4 2 G M T / h t t p : / / h d l . h a n d l e . n e t / 2 0 2 7 / m d p . 3 9 0 1 5 0 6 8 7 6 1 3 2 2 P u b l i c D o m a i n , G o o g l e - d i g i t i z e d / h t t p : / / w w w . h a t h i t r u s t o . r g / a c c e s s_ u s e # p d - g o o g l e
G e n e r a t e d f o r k e v i n . o n e i l 2 ( M c G i l l U n i v e r s i t y ) o n 2 0 1 4 - 0 4 - 0 6 1 6 : 4 2 G M T / h t t p : / / h d l . h a n d l e . n e t / 2 0 2 7 / m d p . 3 9 0 1 5 0 6 8 7 6 1 3 2 2 P u b l i c D o m a i n , G o o g l e - d i g i t i z e d / h t t p : / / w w w . h a t h i t r u s t o . r g / a c c e s s_ u s e # p d - g o o g l e
G e n e r a t e d f o r k e v i n . o n e i l 2 ( M c G i l l U n i v e r s i t y ) o n 2 0 1 4 - 0 4 - 0 6 1 6 : 4 2 G M T / h t t p : / / h d l . h a n d l e . n e t / 2 0 2 7 / m d p . 3 9 0 1 5 0 6 8 7 6 1 3 2 2 P u b l i c D o m a i n , G o o g l e - d i g i t i z e d / h t t p : / / w w w . h a t h i t r u s t o . r g / a c c e s s_ u s e # p d - g o o g l e
