CHINESE MUSICAL COMPOSITIONS AND CEREMONIES.
The most ancient music with the Chinese as with all people, seems to
have consisted of hymns to the Deity, rendering thanks to Him for the
benefits given to man in the various departments of labor. These were
divided according to the class which used them, into agricultural,
military, piscatorial, etc. Very soon after these, there came into
existence that reverential ceremony in memory of the ancestors, which is
so characteristically Chinese, and which became, of all their festivals,
the most important and the most musical.
This ceremonial as conducted by the emperor is as follows. In the
vestibule of the hall are retainers who bear a particular kind of
standards, which show that the coming of the sovereign is expected. Here
also are seen bells, drums, and musicians, as well as officers of the
guards, all standing in symmetrical figure, and motionless in their
position. On entering the hall one sees, right and left, the performers
on the _cheng_ and _king_, and the minor instruments, all arranged in
their proper order. In the middle are placed the dancers, in uniform and
each holding in hand the instrument which they are to use in their
evolutions. Near the end are placed the players of the _che_ and _kin_
as well as the performers on the style of drum called the _po-sou_, and
the singers. Finally, at the lower end of the hall are seen the
representations of the ancestors themselves, either in the form of
portraits, or of simple tablets bearing the name of each. Before these
is a table on which stand flowers and libations. Each performer and
instrument is placed in an allotted position. For example, the bell is
at the south-west, the _cheng_ at the north-west, the drum at the
south-east, the flute at the north-east, and the table at the south; and
this arrangement is never departed from.
When the signal announcing the approach of the emperor is heard, the
singers and musicians, slowly and with great majesty, begin the hymn of
honor, while the emperor, with stately and dignified tread, advances to
the table at the south of the hall.[118] It is a moment of holy awe
(somewhat akin to the instant when the Host is elevated in Catholic
churches) for the spirits of the departed are supposed at this time to
come down from Heaven to their descendants. We give here an English
paraphrase of the words of part of this hymn, which we have translated
from the version of Father Amiot.
Hymn to the Ancestors.[119]
When’er I think of you
Oh ancestors so great,
Then to the highest Heaven
My soul I elevate.
There in th’ immensity
Of the eternal springs
Of Fame which cannot die
And constant happiness
Are your immortal souls.
The vision transport brings
Your valor has reward
Your virtues Heaven doth bless
Around your joyous souls
Each new delight it flings.
Ineffable your joy
Your constant happiness.
If I in spite of faults
And of insufficience
Am called on by the high
Decrees of Providence,
To fill upon the Earth
The very highest place
’Tis but because I am
Descendant of your race.
Although I never may
In your great footsteps move
Yet I will care display
Throughout my life’s high course
That every act of mine
Shall to descendants prove
That I lived not in vain
And need not feel remorse.
In giving this, necessarily weak, translation of the opening part of the
hymn, we have endeavored to preserve the short Iambics of the Chinese
version; but in the Chinese there are only eight lines to the first
division, therefore four lines of the translation correspond to one of
the original. After the chorus has sung as far as this, which is only an
exordium, or manner of worthily preparing for the following exercises,
the emperor prostrates himself three times, touching his forehead to the
earth each time, and then taking the libations, offers them up to the
departed: meanwhile the chorus sing the second part of the hymn, still
in the name of the emperor.[120] In this he again alludes _per_ chorus,
to his noble descent, and thanks them for leaving their abode of bliss
to visit him, and humbly prostrated, begs to render homage to them, and
entreats that they will accept the libations offered, as a testimonial
of profound respect and perfect love.[121] After offering these, the
emperor prostrates himself nine times to the earth, and then resumes his
position in front of the table, while the chorus sing the third part of
the hymn. During this final division of the music, the spirits which
descended at the first part are supposed to be reascending to Heaven. In
the third part the emperor (still by proxy) states how mean and pitiful
he feels, after such illustrious predecessors, and tells how heavy the
burdens of state are to him, and thanks his ancestors for their
spiritual assistance. He concludes with the statement that he can do
very little to testify his appreciation of all their benefits, but what
he is able to do he has done.
“Three times with respect, have I offered the triple sacrifice; not
being able to do more, my vows are satisfied.” The hymn being finished,
the emperor retires with his ministers and _cortege_ in the same order
in which they entered the hall. The music continues until he has reached
his own apartments. Dancers participate in this ceremony and are
sumptuously clad and really assume a _role_ of much importance. As with
the ancient Greeks and Romans, they are not to be thought of as being
jumpers or twirlers; they express by their motions the sentiments which
actuate the emperor as he eulogizes his ancestors, expresses his own
unworthiness, his gratitude, pride, and other emotions. The music of
this august ceremonial, is entirely written in whole notes, without any
change of rhythm whatever. It is rather monotonous than distressing to
our ears.
This is not the case with other vocal compositions of the Chinese;
nearly all travellers agree in saying that their music, in this branch
especially, resembles far more the cries of the nocturnal cat than the
human voice. The composers seem to have an aversion to progression by
degrees, in their songs, and a decided _penchant_ for long skips. We do
not intend a slur upon the Scotch music when we say that there are
points of resemblance between the Chinese music and the former. Some
Chinese airs (given by Irwin and Barrow[122]) show this resemblance
startlingly. Although the Chinese understand the division of the
chromatic scale perfectly well, yet they never use it; five tones are
all they ordinarily employ; these are
FA, SOL, LA, DO, RE,
omitting even the semitone of our diatonic scale. Some of their most
eminent theorists have maintained that the notes pienkoung (si) and
pienche (mi) are as useless to music as a sixth finger would be to the
hand.
It will be observed that the semitone progression is not used in China,
and though known, is universally proscribed and avoided; it is this
which occasions the peculiarities of Chinese music. On this subject we
cannot refrain from re-quoting an article on Chinese music, which
appeared in the “China Mail,” a Hong-Kong newspaper, in 1845.[123]
“One possessed of a musical ear, and at all conversant with the musical
art, cannot fail, on his arrival in this country, to be struck with the
peculiarities of what is esteemed music here. He notices at once, that
the characteristics of western melody, are almost wholly wanting. Nearly
every note seems out of place, and there is neither beginning, middle
nor end, to the airs he listens to. Instead of a theme which is
developed and embellished by the whole performance, he hears a
hurry-skurry of notes, apparently flung together without link or
affinity; and even the confusion of sounds to make it worse, instead of
finishing in a quiescing cadence, passes beyond what is looked for as
the last note, and sometimes ends with what we should call a flatted
keynote, leaving the listeners in a most uncomfortable state of suspense
and uncertainty as to what may follow. For my own part, I have not been
able as yet to discover whether the Chinese recognise such a thing as a
keynote among the parts of song, or whether their composers begin,
continue, and end their tunes _ad libitum_.”
We have inserted the above that the reader may judge how strongly the
music distresses the musical European at first hearing; but it is also
not to be forgotten that the Eastern, (Hindoo and Arabian) music had a
similar effect upon persons who a year later were obliged to acknowledge
that they had begun to find beauty, and take pleasure in it.
Of other court musical ceremonies, the emperor’s birthday, the harvest
sacrifice, the feast of agriculture, and the fifteenth day of the first
moon, are the most important. The first occasion is described by Lord
Macartney, who heard it on the 17th of September, 1793. It began with a
slow majestic sound of deep-toned bells and muffled drums, in the
distance. This impressive music was occasionally interrupted by sudden
pauses; with equal suddenness the whole force of singers and
instrumentalists would burst out with their utmost strength, while the
entire court bowed their faces to the earth as often as the refrain was
sung:—“Bow down your heads ye inhabitants of the earth, bow down your
heads before the great Kien-long.”
The emperor was not visible during these ceremonies.
Among the secular pieces, collected by Amiot, is one which demands
especial notice; it is an instrumental representation of a battle. It
will be recollected that fifty years ago, many popular European
compositions took this shape. “The battle of Navarino,” “the battle of
Prague,” “Waterloo,” etc., were the out-crops of this mania: the Chinese
certainly have better instruments than we had, wherewith to represent
the din of combat.
In the accompaniment of songs, the Chinese seem to stand, as regards
their harmony, about where Europe stood in the middle ages, for they use
as sole and only harmony, when playing on the _kin_, a succession of
_fourths and fifths_.[124]
The constant use of instruments of percussion, in slow and monotonous
songs, is one of the most tiresome institutions of the Chinese music;
almost all the tunes are taken at an _andante_ or _adagio_ pace, and it
is but just to say, that the Chinese chiefly dislike European music
because it is often played quickly.
“To what purpose” they ask, “should one dance and hurry in this manner,
and how can such things penetrate to the soul? With us” they add
proudly, “all is done calmly, and without precipitation.[125]”
It must be acknowledged, that the Chinese love, and take pride in music,
that is, in their own kind. In every great state ceremony, in theatres,
in religion, it everywhere plays the leading _role_.
One of the nine tribunals which have charge of the general affairs of
the empire, is charged with the care of music, rites, and ceremonies;
and the mandarins of music are considered of much higher rank than the
mandarins of mathematics, and have their college in the enclosure of the
imperial palace.
The fondness for the art is apparent in all classes, and music is used
on almost every occasion of festivity, high or low. The streets of the
cities are full of peripatetic musicians, who earn their living by
catering to the general public, somewhat as the organ grinders do with
us.
The feast of lanterns is the greatest of all popular Chinese festivals;
it takes place on the fifteenth day of the first moon, and corresponds
to a New Year’s feast. On this occasion every part of the immense cities
of the empire glows with the light of innumerable lanterns, while
fire-works and decorations are seen on all sides. In the streets are
seen large _Lantern Theatres_, that is to say, edifices made of paper;
on the inside, which is brightly illuminated, is a stage whereon actors
and singers give plays and concerts. Another great festival, where music
plays a leading part, takes place on the fifteenth day of the eighth
moon. On this evening the Chinese imagine that a _hare_ is seen in the
moon, and to the sound of many instruments, the entire population turn
out to look at it. It is customary for friends to send each other cakes,
on which the figure of a hare is moulded, in sugar. Concerts are an
important accessory to this festival with both rich and poor; the former
make every effort to secure the best singers and performers for their
entertainment on this holiday; the latter, not being able to have the
more delicate instruments content themselves with a clatter of basins,
pots and frying-pans, and make with these a sort of burlesque concert.
At each full moon there takes place a festival in which gongs and
cannons rather than musical instruments are heard. Besides these
festivals which are celebrated throughout the empire, there are also
local ones, which are numberless. The richest class generally keep their
private troupe of musicians, whom they own almost as slaves. Often also
they educate young children of both sexes, in the musical art with the
utmost care, in order that when grown up they may swell the ranks of
their musical retinue. Among these are often special artists whom they
will not allow to appear on ordinary occasions, but reserve to perform
before their own family, or intimate friends to whom they wish to show
especial honor; at such times, the ordinary performers are sent away.
Among the strolling musicians, there are many who make their living by
going to private festivals of the middle classes, such as weddings,
birthdays, and other rejoicings, even when uninvited; these are similar
to our ball room musicians, but also bear some resemblance to the
itinerant performers of early Eastern nations. In Poland there still
exists a similar class.
For the poorer class, there are also, numerous blind musicians, who
travel from house to house, sometimes in bands, sometimes alone. We have
already compared these to our own organ-grinders, but they differ from
them in one particular; they do not rely so much upon making music
indiscriminately, but go, with much tact, to those places where their
services are likely to be required.
In China the custom of celebrating the birthday anniversary is
universal; these wandering minstrels recollect the date of the birth of
each individual for miles around, with unerring exactness, and when a
birthday _fete_ occurs in any family, they may calculate with some
degree of certainty that the music will come without being sent for.
There are other occasions, where these shrewd disciples of the muses can
turn an honest penny; if a skillful physician has saved the life of the
wife or child of some rich man no higher compliment can be given to him
(besides his fee) by the grateful nabob, than to invite him to a great
feast, and to send an escort of eight musicians to convey him thither,
besides bringing him numerous presents.
Music is employed at funerals, but the friends of the deceased, are not
allowed to perform it; for months after, etiquette forbids their
touching any musical instruments.
The mourning for a parent, or grandparent is very strict and protracted.
In China filial love and obedience are the virtues most insisted upon.
If the descendants give forth any musical sounds at all it is only to
howl dismally a chant respecting the virtues of the defunct; there are
many of these compositions, or “lamentations” in existence, of which the
poetry is by no means despicable. When the funeral ceremony is taking
place, some trumpets and a drum placed at the door, announce the arrival
of visitors who come with their condolences to the afflicted family.
After the body is buried with the ancestors, the _bonzes_, (Chinese
priests) chant the office of the dead, for nine days, and in the
procession itself drums, trumpets, tam tams, flutes, etc., play a
discordant dirge.
We have already mentioned the wooden fish suspended at the tent door of
military commanders to summon them to audiences concerning public and
private affairs. Mandarins have, in like manner, a drum in the outer
hall of their palaces, by means of which they can be summoned to give
audience to any applicant; they are obliged to give immediate attention
to the complaint of any person beating the drum, but woe to the
audacious drummer who does not have some very especial wrong to complain
of; he is immediately soundly bastinadoed.
At eclipses of the moon, the Chinese use their musical instruments in a
purposely hideous manner. This is done to frighten away the dragon which
is supposed to be eating up the orb of night. Instruments of percussion
are chiefly used on this occasion. The same instruments (i. e. gongs,
drums, trumpets and tam-tams) are used to aid the marching of the army.
The _musical language_ such as we use in directing the movements of
cavalry and artillery, is much more extended, though differently used in
China; such musical signals are used in commanding civil as well as
military personages. Various trades have their especial songs also,
which they sing at their work.
But the music of China, although extending into every department of
social and official life, is totally incapable of any advancement.
Musical martinets are continually exclaiming against the changes in
style of composition, which innovators are constantly introducing into
_our_ art,[126] but it is these changes which give the surest signs of
real life and intrinsic merit to modern music.
In China, precisely as formerly in ancient Egypt, no such changes are
possible; the music for each and every event is as carefully mapped out
and adhered to, as is the cut of the garments, or the exchange of
civilities among this precise people.[127]
If ever change takes place in their musical system it will assuredly be
a gravitation towards the European, as they have in a certain measure a
comprehension, theoretically at least, of our system of semi-tones, but
could by no means conceive of, and accurately produce the third and
quarter tones of Indian music. We have already related the ineffectual
movement towards western style, made in the last century; during the
embassy of 1793, Macartney observed many indications of inclination for
our system, such as the use of the violin,[128] the notation of music
upon ruled paper, and interest in the band concerts given at his rooms
each evening. He also found in the emperor’s palace at _Yuen min-yuen_,
an English musical clock, made by Geo. Clarke, Leadenhall Street,
London, which played many selections from the “Beggar’s Opera.”[129] It
is certainly not too venturesome to predict, in spite of the jarring of
their music upon us, that they may yet develop a taste for some of the
coarser branches of ours.