Chinese Music

A Flower Moon Night on Spring River puts the listener in a happy mood, as though he were looking at graceful Oriental landscape painting; Mournful Autumn makes one feel the inner sorrow of a bleak autumn day; Ambushed From Ten Sides deposits the listener on a thunderous ancient battleground; All the World Rejoices stirs up a joy of celebration in whoever happens to get caught up in its festive rhythms. There are famous examples of traditional Chinese musical compositions, all of which can transport the listener into a whole new sensory world.

The origins of Chinese music can be traced back to distant antiquity. Around 3,000 years ago, when European music was just experiencing its first rustlings of life, a complete musical theory and sophisticated musical instruments began appearing in China, owing largely to the orthodox ritual music advocated by Confucius. By the Han Dynasty (206 B.C.-220 A.D.), the imperial court set up a Music Bureau, which was in charge of collecting and editing ancient tunes and folk songs. Because of commercial contacts with Central Asia, foreign music entered China in the form, for example, of the p'i-p'a ,or lute, and the hu-ch'in , a vertically-held violin. Influenced by this foreign-originating music, composers of the time modified and improved Chinese music. By the time of Emperor Hsuan Tsung (r. 713-755 A.D.) of the T'ang Dynasty, the court organized the Pear Garden Academy song and dance troupe, cultivating a large number of musicians, and thus laying a firm foundation for Chinese music.

The variations of rhythm, beat, tone quality, and embellishments in Chinese music are highly distinctive and unlike their Western counterparts. This is mainly due to the unique sounds and playing styles of traditional Chinese musical instruments.

Chinese musical instruments can be divided into four basic categories based on the method by which they are played: ``blown,'' ''bowed'', ``plucked,'' and ``struck'' (i.e. percussion) instruments. The ti , a wooden horizontal flute, is the most popular of the ``blown'' instruments. The ti is made of a bamboo tube, and possesses a clear, sharp, and pure tone. The famous ROC composer, Ma Shui-lung, , once composed a concerto for the ti and Western-style symphony orchestra. When it was performed by an American symphony orchestra in Taiwan, Chinese and foreigners alike marveled at the high, penetrating sound of the ti, and unanimously gave the concert rave reviews. Another ``blown'' instrument, the Chinese pan flute, or p'ai-hsiao , is one of the most ancient of Chinese musical instruments, and is similar to its Western counterpart. Because of its graceful external form, it was chosen for the ROC emblem of Chinese music.

The category of Chinese violins called hu-ch'in includes instruments that have only two strings with a bow permanently caught between them. They yield a soft, elegant tone. The use of portamento and vibrato can give a feeling of weeping or complaint. In the modern Chinese orchestra, the hu-ch'in occupies a position comparable in importance to the violin in the Western orchestra.

There are few ``plucked'' stringed instruments in a Western orchestra. But due to the broad development of plucked Chinese instruments-China has perhaps more kinks of plucked stringed instruments than any country in the world-folk and modern Chinese orchestras alike use them to a great extent. Musical scores that survive from ancient times also favor plucked instruments. The p'i-p'a is a representative plucked Chinese instrument. The T'ang Dynasty poet Pai Chu-i described the timbre and variations of the p'i-p'a as ``large pearls, small pearls tumbling onto a plate of jade.'' The ku-cheng , a 16 or 21-stringed zither, is currently the most popular plucked traditional Chinese instrument on Taiwan. A gentle strum produces the lilting sound of graceful, flowing water.

In traditional Chinese opera, the percussion section is referred to as wu-ch'ang , literally, ``martial scene.'' The player of the pan-ku , a small drum for keeping time, directs the rest of the orchestra through his different methods and positions of striking his instrument. He has control over the overall development of the action and creation of atmosphere, and is equivalent to the conductor of a Western style orchestra. Because of the richness of timbre and variety of Chinese percussion instruments, these instruments are now frequently used in Western style musical compositions. For example, a large gong can create a stately and imposing atmosphere; dramatic effects can be achieved with the t'ang drum, and the ``wooden fish'' ( mu-yu) and lithophone ( ch'ing) can produce an atmosphere of mystery.

The development of traditional Chinese music in the Republic of China on Taiwan can generally be divided into two categories. The first developed from the traditional music played by folk performing groups, usually composed of three to five or at most ten people. The performers are generally of advanced age, and they play mostly folk tunes or themes from traditional Chinese operas. This kind of music gives the listener a good feel for the rhythms of day-to-day Chinese rural life. The modern version of the Chinese instruments, developed in response to changes in society. Besides performing traditional Chinese music, the Chinese orchestra plays adapted versions of folk songs along with classical and modern symphonic compositions. It is widely favored by young music lovers.

There are currently three professional orchestras in the Republic of China on Taiwan that give frequent public performances of Chinese music: the Taipei Municipal Orchestra, the Chinese Music Orchestra of the Broadcasting Corporation of China (BCC), and the Experimental Chinese Orchestra of the National Taiwan Academy of the Arts. Most of the members of these orchestras were trained in departments of traditional Chinese music of local universities and colleges. In addition to the technical music training they receive, they also study traditional music under the guidance of elderly folk performers. In this way, they preserve and pass on tradition while carrying out music al research and development. Outside of the three professional orchestras, there are over 200 amateur and school orchestras. And classes on traditional Chinese musical instruments are held in elementary, junior high, and senior high schools, a further reflection of the popularity of Chinese music in Taiwan today.

In the area of composition, musicians are experimenting with incorporating elements from other musical systems and introducing creative innovations while preserving the spirit of traditional music, thus infusing Chinese music with a whole new vitality.

Ancient Chinese ritual music sets the atmosphere
for the annual ceremony in honor of Confucius
at the Confucian Temple in Taipei