Curiosities of Music: A Collection of Facts not generally known, regarding the Music of Ancient and Savage Nations

by Louis Charles Elson

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.