resultant pien-Koung of the ancient scale. This equalization of the (mediæval) intervals Yu-pien-Koung and pien-Koung, — Koung has apparently misled our performer into playing the ancient Kio as g instead of using g#, the extra note provided for the purpose, the latter becoming then an alternative pien-Tche. He has endeavored, moreover, to enlarge the (ancient) intervals, K-CH-Ki by depressing e (Koung) to d̄# and f̄ (Chang) to f. The note d then becomes the customary intermediate pien-Koung without alteration. The curious scale of Long-how-sa thus appears as an unskilful use of not altogether perfect devices incorporated on the Gie-erh for the performance of a given key in both the systems of Chinese modulation.[1]
A further inquiry remains to be made regarding the Chinese system of modulation. In European music the keynote is also a Tonic: besides its position of primacy as note of comparison in the determination of keys, the Do or La of the scale is apt to appear in a melody at the first accented beat, and with special frequency thereafter: its upper fifth (or dominant) is apt to be used at points of rest in the music, and the note itself at the close.[2]
To the question whether Chinese music exhibits this characteristic of tonic structure the answer suggested by a first glance at our collection of songs is a negative one. There is no note which is unequivocally defined as the axis of the music
- ↑ In his accounts of Chinese musical history Pere Amiot often refers to the want of comprehension in later times for former achievements of theory and practice. In Prince Tsai-yu's time (1596) the scale once heptatonic had simplified itself to five notes. One of Amiot's learned Chinese friends said of ancient music, " All our books speak of it in terms of the loftiest praise, but they teach us at the same time that we have lost much of the excellent method which our ancestors employed to bring forth their marvellous effects." From the first to the sixth century music was generally neglected in China. "At that time the discovery was made of several chimes of bells (embodying the system of the Lu), and the Emperor put them into the hands of the officers in control of the music of his palace, with orders to make use of them; but since the ancient method was forgotten, the musicians employed but seven bells in each chime, the remaining five gaining the name of mute bells" (p. 46).
- ↑ Helmholtz (p. 410) describes the tonic demand of the European musical consciousness as follows: "that the whole mass of notes and harmonic complexes should be placed in close and distinct relationship with a freely chosen Tonic note; that the whole mass of notes in the piece should be developed out of this and be brought back again to it."
