The times. [volume] (Washington [D.C.]) 1897-1901, 1900-07-08

Those who remember the wild blast of
beat of the drum and the spasmodic ring
ing of bells, that characterized the music
in the Chinese Pavilion in the Midway
Plaisance, or have ever seen a Chinese
funeral procession on its melancholy
march to the graveyard, may have formed
some idea of Chinese melody.
The American. however, who has not
travelled in the Orient and forms his
opinion from the performances he has
heard in this country, and more particu-
larly in Chicago. will not do justice to the
Chinese artist-musician. The music fur
nished by the Celestials of Chicago's China
town is little better than rude orgy. and
would be considered almost parody by
the cultured of China. even that OF the
more talented artists of the San Fran
cisco settlement or even of Pell or Mott
Street in New York is mediocre; but the
melodies heard in the Celestial Empire IL
self are, in the words of an Engiishman,
mot half bad"
Chinese music. like many of the sciences,
is said to have been invented by the ceie-
r
2Sa2-27S7. To his genius is attributed the
first she" sort of Lutte. made after the
fashion of the later instruments with
which Nero is supposed to have accom-
panied the cracking flames of burning
Rome The first Fuh-he Lutte had twenty
five strings. but a legend tells mat d
damsel one day played on ole such IN
strument before the Emperor Hwang-te a
tune so direful that the monarch became
affected &c melancholy and ordered that
the number of strings should thereafter
be reduced By half
Traditions without number are asso:iaisa
with the origin of nearly every musical
instrument in use in China at the present
day. String and reed instruments, such as
were used by the aboriginal tribes, were
the first known. Next came the drums,
which were first used to incite warriors on
the battlefield 10 deeds of valor. There
are many kinds of drums. distinguished by
names indicating their size and use. stone
preceded metal as musical substance In
the earliest classics musical stones are
mentioned Sixteen in number were hung
by cord. and the performer pounded out
the strains with small mallet. The stones
used by emperors were made of jade.
Though with most peoples the trumpet
has been given first place among metal in
struments. in China the bell takes prece-
dence The sound is made by striking the
rim with stick. The use of the bell as
a musical instrument. is, however, largely
confined to religious services and process
sions. Not unusually it is concerted with
other instruments. The poet writes of the
expedition of King Yew TO the Hwai:
Kin kin peal the bells, peal on,
And the lutts in the concert we hear.
Deep breqthes the organ tone;
Sounding stonos Join their. notes rich and clear,
The while through the vessel there ring
The Va and the Nan which they sing.
And the dancers with flutes appear.
The gong is even more popular than the
bell. The Chinese gongs are of three kinds
the temple gong the Soochow gong,
which is shaped like a boiler" and the
watch gong, which is used TO strike the
watches. or divisions of time. The gong
is probably the most conspicuous at
theatrical performance of any of the va
rious instruments. 1t is supposed also to
strike terror into evil spirits.
Flutes. flies, conch shells. clarinets. and
the reed organ are the commonest wind
instruments. The latter is made by in
sorting nineteen reed tubes into the upper
surface of gourd. The reeds are pierced
near the base to prevent the emission of
sound until stopped by the fingers of the
performer. The mouthpiece resembles the .
spout of a kettle and is inserted in the /
side of the gourd. The favorite instru-
ments among the more cultured Chinese
are stringed. These include the she. the
kin, which is said to restrain and check !
evil passions and correct the human
heart" the p'i-p'a, bour- stringed gui-
tar; the yueh Kin, or moon kim named
from its oon-shaped soundboard, which
has four strings standing in pairs, tuned
as tifths to each other, and the Su-chun. or
standard Lutte" which has twelve strings,
yielding exactly the notes of the twelve
Luh. or tubes. invented by Ling-lun.
From the beginning Of the recorded his
tory of China until the present day music
has at all times had an important place in
the political system Of the Chinese. lis
influence on the people and the forming Of
TIER character, either for good or evil,
has never been underestimate. Con-
fucius said: 1T gives finish to char
acter first established by the rules of pro.
priety. Since Confucius time has done
nothing to lessen the Chinese belief in the
ines;imable value OF music. AT the present
day there exists an imperial board of mu-
sic, appointed for the purpose Of keeping
alive the music of the ancients and Of
exercising a strict censorship over all COM
positions.
The Influence OF the drama upon the peo-
pie is nominal compared with the influence
of music. Its tendency is demoralizing
rather than elevating. Granted that the
chief aim OF the Chinese playwright is to
eyalt virtue, ne appeals TO contrast as his
best means. So in his praiseworthy effort
to proclaim the triumph of morality and
truth the character OF the villain is re.
cealed In the broadcast colors. No soften
ing lines mitigate his villainy. He is SO
sordid, so base, SO wretched that the after
taste Of the portrayal OF his temperament
the recollection Is the good
and its final achievement
Both the hero and the villain are painted
In extremes. Their characters are a study
in black and white. The one is Just as in
capable of bad as the other is OF good The
hero In every case is marvelously accom-
plisbed. In him are combined the strength
Of Hercules. the bravery of Hector OF Troy,
the wisdom Of Nestor, and the piety of
Aeacus.
He is invariably simple Of manner and
modest. His closing role scarcely without
exception is 10 defend the oppressed.
straighten the crooked paths of the cor
runt officials and redress every wrong.
Az a GROWING reward Of his merit and
| ,