Critical and Historical Essays by Edward MacDowell (famous ebook reader .TXT) 📕

connection with the last named we meet with one of the two cases in Chinese art in which we see the same undercurrent of feeling, or rather superstition, as that found among western nations. We read in the writings of Mencius, the Chinese philosopher (350 B.C.), the following bit of gossip about the king Senen of Tse.

"The king," said he, "was sitting aloft in the hall, when
a man appeared, leading an ox past the lower part of it.
The king saw him, and asked, 'Where is the ox going?'

"The man replied, 'We are going to consecrate a bell with
its blood.'

"The king said, 'Let it go. I cannot bear its frightened
appearance as if it were an innocent person going to the
place of death.'

"The man answered, 'Shall we then omit the consecration
of the bell?'

"The king said, 'How can that be omitted? Change the ox
for a sheep.'"

As stated before, this is one of the few cases in which Chinese superstition coincides with that of the West; for our own church bells were once consecrated in very much the same manner, a survival of that ancient universal custom of sacrifice. With the exception of this resemblance, which, however, has nothing to do with actual music, everything in Chinese art is exactly the opposite of our western ideas on the subject.

The Chinese orchestra is composed of about sixteen different types of percussion instruments and four kinds of wind and stringed instruments, whereas in our European orchestras the ratio is exactly reversed. Their orchestras are placed at the back of the stage, ours in front of it. The human voice is not even mentioned in their list of musical sounds (sound of metal, baked clay, wood, skin, bamboo, etc)., whereas we consider it the most nearly perfect instrument existing. This strange perversity once caused much discussion in days when we knew less of China than we do at present, as to whether the Chinese organs of hearing were not entirely different from those of western nations. We now know that this contradiction runs through all their habits of life. With them white is the colour indicative of mourning; the place of honour is on the left hand; the seat of intellect is in the stomach; to take off one's hat is considered an insolent gesture; the magnetic needle of the Chinese compass is reckoned as pointing south, instead of north; even up to the middle of the nineteenth century the chief weapon in war was the bow and arrow, although they were long before acquainted with gunpowder-and so on, ad infinitum.

We are aware that the drum is the most primitive instrument known to man. If all our knowledge of the Chinese were included in a simple list of their orchestral instruments, we should recognize at once that the possession of the gourd, mouth-organ, and lute indicates a nation which has reached a high state of civilization; on the other hand, the great preponderance of bells, gongs, drums, etc., points unmistakably to the fact that veneration of the laws and traditions of the past (a past of savage barbarism), and a blind acquiescence in them, must constitute the principal factor in that civilization. The writings of Chinese philosophers are full of wise sayings about music, but in practice the music itself becomes almost unbearable. For instance, in the Confucian Analects we read, "The Master (Confucius)[02] said: 'How to play music may be known. At the commencement of the piece, all the parts should sound together. As it proceeds, they should be in harmony, severally distinct, and flowing without a break, and thus on to the conclusion.'" The definition is certainly remarkable when one considers that it was given about five hundred years before our era. In practice, however, the Chinese do not distinguish between musical combinations of sound and noise; therefore the above definition must be taken in a very different sense from that which ordinarily would be the case. By harmony, Confucius evidently means similarity of noises, and by "melody flowing without a break" he means absolute monotony of rhythm. We know this from the hymns to the ancestors which, with the hymns to the Deity, are the sacred songs of China, songs which have come down from time immemorial.

According to Amiot one of the great court functions is the singing of the "Hymn to the Ancestors," which is conducted by the Emperor. Outside the hall where this ceremony takes place are stationed a number of bell and gong players who may not enter, but who, from time to time, according to fixed laws, join in the music played and sung inside. In the hall the orchestra is arranged in the order prescribed by law: the ou, or wooden tiger, which ends every piece, is placed at the northwest end of the orchestra, and the tschou, or wooden box-drum, which begins the music, at the northeast; in the middle are placed the singers who accompany the hymn by posturing as well as by chanting. At the back of the hall are pictures of the ancestors, or merely tablets inscribed with their names, before which is a kind of altar, bearing flowers and offerings. The first verse of the hymn consists of eight lines in praise of the godlike virtues of the ancestors, whose spirits are supposed to descend from Heaven and enter the hall during the singing of this verse by the chorus. Then the Emperor prostrates himself three times before the altar, touching his head to the earth each time. As he offers the libations and burns the perfumes on the altar, the chorus sings the second verse of eight lines, in which the spirits are thanked for answering the prayer and entreated to accept the offerings. The Emperor then prostrates himself nine times, after which he resumes his position before the altar, while the last verse of eight lines, eulogistic of the ancestors, is being chanted; during this the spirits are supposed to ascend again to Heaven. The hymn ends with the scraping of the tiger's back and striking it on the head.

We can imagine the partial gloom of this species of chapel, lighted by many burning, smoky joss-sticks, with its glint of many-coloured silks, and gold embroidery; the whining, nasal, half-spoken, monotonous drone of the singers with their writhing figures bespangled with gold and vivid colour; the incessant stream of shrill tones from the wind instruments; the wavering, light clatter of the musical stones broken by the steady crash of gongs and the deep booming of large drums; while from outside, the most monstrous bell-like noises vaguely penetrate the smoke-laden atmosphere. The ceremony must be barbarously impressive; the strange magnificence of it all, together with the belief in the actual presence of the spirits, which the vague white wreaths of joss-stick smoke help to suggest, seem to lend it dignity. From the point of view of what we call music, the hymn is childish enough; but we must keep in mind the definition of Confucius. According to the Chinese, music includes that phase of sound which we call mere noise, and the harmonizing of this noise is Chinese art. We must admit, therefore, that from this point of view their orchestra is well balanced, for what will rhyme better with noise than more noise? The gong is best answered by the drum, and the tomtom by the great bell.

China also has its folk song, which seems to be an irrepressible flower of the field in all countries. This also follows the precepts of the sages in using only the five-note or pentatonic scale found among so many other nationalities. It differs, however, from the official or religious music, inasmuch as that unrhythmic perfection of monotony, so loved by Confucius, Mencius, and their followers, is discarded in favour of a style more naturally in touch with human emotion. These folk songs have a strong similarity to Scotch and Irish songs, owing to the absence of the fourth and seventh degrees of the scale. If they were really sung to the accompaniment of chords, the resemblance would be very striking. The Chinese singing voice, however, is not sonorous, the quality commonly used being a kind of high, nasal whine, very far removed from what we call music. The accompaniment of the songs is of a character most discordant to European ears, consisting as it does mainly of constant drum or gong beats interspersed with the shrill notes of the kin, the principal Chinese stringed instrument. Ambros, the historian, quotes a number of these melodies, but falls into a strange mistake, for his version of a folk song called "Tsin-fa" is as follows:

[Figure 01]

Now this is exactly as if a Chinaman, wishing to give his countrymen an idea of a Beethoven sonata, were to eliminate all the harmony and leave only the bare melody accompanied by indiscriminate beats on the gong and a steady banging on two or three drums of different sizes. This is certainly the manner in which the little melody just quoted would be accompanied, and not by European chords and rhythms.

If we could eliminate from our minds all thoughts of music and bring ourselves to listen only to the texture of sounds, we could better understand the Chinese ideal of musical art. For instance, if in listening to the deep, slow vibrations of a large gong we ignore completely all thought of pitch, fixing our attention only upon the roundness and fullness of the sound and the way it gradually diminishes in volume without losing any of its pulsating colour, we should then realize what the Chinese call music. Confucius said, "When the music master Che first entered on his office, the finish with the Kwan-Ts'eu (Pan's-pipes) was magnificent-how it filled the ears!" And that is just what Chinese music aims to do, it "fills the ears" and therefore is "magnificent."[03]

With their views as to what constitutes the beautiful in music it is not strange that the Chinese find our music detestable. It goes too fast for them. They ask, "Why play another entirely different kind of sound until one has already enjoyed to the full what has gone before?" As they told Père Amiot many years ago: "Our music penetrates through the ear to the heart, and from the heart to the soul; that your music cannot do." Amiot had played on a harpsichord some pieces by Rameau ("Les Cyclopes," "Les Charmes," etc.) and much flute music, but they could make nothing of it.

According to their conception of music, sounds must follow one another slowly, in order to pass through the ears to the heart and thence to the soul; therefore they went back with renewed satisfaction to their long, monotonous chant accompanied by a pulsating fog of clangour.

Some years ago, at the time of that sudden desire of China, or more particularly of Li Hung Chang, to know more of occidental civilization, some Chinese students were sent by their government to Berlin to study music. After about a month's residence in Berlin these students wrote to the Chinese government asking to be recalled, as they said it would be folly to remain in a barbarous country where even the most elementary principles of music had not yet been grasped.

To go deeply into the more technical side of Chinese music would be a thankless task, for in the Chinese character the practical is entirely overshadowed by the speculative. All kinds of fanciful names are given to the different tones, and many strange ideas associated with them. Although our modern chromatic scale (all but the last half-tone) is familiar to them, they