THE MUSIC OF THE NATIONS.
I.—THE 'KING' AND 'OU' OF THE CHINESE.
IVE hundred years before the birth of Christ, Confucius declared that 'Music gives finish to the character, which has first been established by its rules of proficiency.' Moreover, he said, 'Wouldst thou know if a people be well governed, and if its manners be good or bad, examine the music it practises.'
When we reflect that the speaker was the most famous sage of the Chinese, to whom temples are built in every town of the vast empire of China, and to whose memory the Emperor himself offers homage twice a year at the Imperial College in Pekin, we may understand what weight his opinions have carried in his own country.
Long before his time, however, music had been studied there as a science. It was imported by the first invaders of the Celestial Empire, who hailed from the borders of the Caspian Sea. The Yellow Emperor, or Huang Ti, who reigned two thousand seven hundred years before the Christian era, established a fixed base note from which musical instruments were to be measured, much as in the modern musical system we take a key-note and found our chords and scales upon it. The connection between musical and State affairs was so business-like in those days that the precedence of the various classes was fixed according to the musical grade: F, the base note of the oldest known scale, represented the Emperor; G, the Prime Minister; A, the loyal subjects, and so on.
The "Tse King."
