Evening star., 1946-08-25
China's Music
May Hold Key
To New Era
Philosophy of Art
Discussed Anent
United Nations Week
By EIeno de Sovn

In the Natlon-w observance of
United Nations Week set for Sep
tember 22-28, music will play an
important part. Sponsored by as
organizations. the activities will be
focused at Rockefeller Center, New
York, where concerts of interna-
tional music will be a part of q
varied program.
OF all the United Nations. music
OF China and its BACKGROUND are
least understood of any, and, there
fore, her contribution to it, of sig
nificance today. is not duly ap-
preciated. 1t is China, who, pos
sibly, holds at this time the key
to the postwar renaissance of melody,
the art and science of the writing
|of which her scholars developed CEN
turies ago to a degree unmatched
by any other country.
Western musicians and teachers
who are spreading their culture In
China now, agree that the Chinese
have remarkable sense of music,
which tallies with what Is known
OF her past achievement. Alexan-
der Tcherepnine, noted Russian
composer, claims that rhythm Is
closely related to the life and work
OF the Chinese people who seize
every opportunity to produce a
rhythmic sound. He was amazed
by its precision, variety and in
genuity even with workers striking
a gong or using a hammer. He be-
lieves that the peoples Unborn
musical instinct is continually seek
ing a manifestation even If it Is
expressed in noise.
Confucius and Music.
More than $500 years ago, in the
teachings of Confucius, is found
already reference to the power of
music, which made him lose the
taste OF meat, so goes the legend.
1t was he who coined the say
ing that music has the power to
make the whole world kim" phrase
which has gained so much signifi-
canoe of late. Coming from a
country considered to have re-
manned far behind in musical de-
velopment. according to western
ideas, it is the more surprising to
learn that China was possibly the
first to have had Bureau of
Music, Department of Board of
Rites" organized and maintained
by the state to study the princi-
piles of harmony and melody, to
compose musical pieces and to form
instruments proper to play them"
Although music was connected
with rituals and was encouraged
and subsidized by the government to
bring about political order, it was in
tended also as a strong agent for
the good Of the people, as a means
for moral and spiritual uplift and
not as an amusement. The place
Of honor reserved for it in the
Chinese mind and the rules for
performers, as put down by W.T.
Ch'eng in the 18th century, are in
sympathy with our own views and
ideals today. He emphasized the
need of reverential state of mind
when making music, of comprehend
ing the meaning underlying each
composition, and the understand
ing of the sentiments and motives
which guided the composer.
1t is in the Chinese symbols that lies
buried the secret, the application Of
which rules the movements of per-
feet song. While the science of writ
ing melody was left to the intuition
of the individual in the west, China
developed this art through CEN
turies, with Shen-Yo bringing 1t to
the point Of highest perfection in
the fourth century AID. His design,
form, symmetry, balance and line
unequaled even by great European
masters, entitle him to place in
the field of melody as important
as that occupied by Bach in the
Occidental art of harmony and
counterpoint. Based upon a system
which could be applied universally,
his melodies are deeply involved
and constitute rich, as yet
unexpected source of complete
knowledge.
Ancient Music Writing.
Handicapped by the type Of
musical notation in China, western
composers have not made much
progress as yet in touching upon
the most important material which
survived the vicissitudes of time.
Closely entwined with the lutte,
known to have existed in the Begin
ming of the Shang dynasty (1766-
1922 Be- Chinese musical notation
Is very complicated. In a perpen-
dicular form, with no distinction Of
keys, its 200 characters, represent
ing music as we'll as compound
rules, or authorizations of same, for
the use of fingers, timbre, vibrancy
tempo, dynamics and expression,
the system is far from being practi-
cal for general use. 1t is said that q
native scholar spends sometimes
two or three years to puzzle out
and to learn one tune.
The ancient art of Chinese per-
formers, practiced by a minority
today, has nothing in common with
the noisy element produced on the
oti CCtS VI III llIS tllCdIClSs COilc~
spending to the present day jazz in
the West. Those who heard accom-
plished performers claim that the
type of music they make is one of
the most satisfying. Emanating from
the mind and directed by thought,
the player is supposed to translate
emotions into sound, in accordance
with the Chinese saying that 1t Is
the mind, not the sound, that makes
music. When thrilled by super
lative interpreter this view may be
fully appreciated these days.
Introduced via Japan in the past,
western culture found its way to
China after the revolution without
reserve. Occidental musical educa-
tion was brought into all government
middle schools. Shangai has had
national conservatory of music since
1927, which is subsidized by the gov
ernment and forms the center of
musical education. 1t was
founded by DR.. Hsiao Yui-mei, who
was educated in the Leipzig Uni
versity and under Emil Pauer, Rie-
mann and Reger
At present there Is a great demand
for patriotic songs in China. New
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