CHINA
A JOURNEY
INTO ITS
MUSICAL ART
PREFACEOn my concert tours in North America and in Europe and on other tours with the Chinese Classical Orchestra and the Silk & Bamboo Ensemble, many friends in the audience have asked very similar questions about Chinese music. In the informance that I usually do on university campuses I have spoken at length about the musical background of the repertoire. Students and faculties have found these comments very useful. I have included many of the topics I discussed here. Thus much of this book was really written on tour.
To provide a good perspective of where I was coming from, the introductory chapters offer a brief background of my own encounters and upbringing. These include my childhood experience with theatrical music and training in the Chinese fiddles. Chapter by chapter after that we take you on a journey into dance music, opera music, ballad singing, instrumental music and vocal music.
The early development and very early systematic advances in Chinese philosophy and mathematics form the intellectual foundation of the Chinese musical system. The quest for meaning of existence by Chinese musical philosophers focused on (1) the importance of communication between one another and commitments to contribution to society, and (2) the human position in the cosmic world. Their cosmic view was the basis for universal resonance and harmony. The Chinese system of harmonic intervals is both physically just and culturally harmonious. The physical universe and the reality of acoustical systems provided practical enlightenment about resonance and harmony. Temperament theory on silk strings were developed by acoustical physicists and mathematicians. Such advances were spurred by incredible engineering and technological/industrial advances. It was on silk strings that the Chinese musicians first practiced in the world just and physically harmonious i ntervals. Without the strength of the silk industry perhaps much of string acoustics would have been delayed. The fascinating tones of silk strings also presented themselves as assets for expression.
It was not until the late Tang period and the Song period that the central position of the cosmic view slowly disintegrated. The Song period spelled disaster for musical aesthetics as China plunges into serious political retreat. I included significant discussion about this period and about the succeeding Yuan dynasty. The connection between Chinese bowed fiddles and the use of horse-haired bows in Europe is established.
Material for the Chinese Music Monograph Series (CMMS) has been developed over the years teaching at the graduate and the undergraduate levels and at the Research Institute of the Chinese Music Society of North America (CMSNA).
Pursuing our exploration of the almost limitless caverns of Chinese music and orchestration, so much of which has never yet come to the knowledge of the rest of the world, we approach the subject from both the angles of principles and practice. Functional discussions of musical interest, cultural molding of musical psychology, instrumental effects and acoustics are emphasized. The exploration centers on the principle of cultural acoustics, that is, the impacts of musical acoustics is strongly modified by our ear and brain which are products of culture.
The intended audience are students of music at the university level, and music practitioners. The book is written so that it requires no prior knowledge of Chinese music or acoustics. Also, no knowledge of the Chinese language is assumed.
Within this volume we find ourselves at a focal point in the present exposition: What Makes Chinese Music Chinese? The cultural preference of harmony, and thus intervals and tones and rhythms used in music, distinguishes one music from another. Chinese music, however, is unique in its uninterrupted history of more than 8000 years and very early development of theoretical systematics, acoustical and material science, and orchestral practice.
It is a pleasure to offer public gratitude to those who have shaped this work. Throughout this research and writing, Dr. Yuan-Yuan Lee provided detailed and thought-provoking critique of the discussion concerning every concept and every analysis. Colleagues in theory, composition, and performance throughout the world had stimulated the writing and completion of this text. The masters of Chinese music and acoustical masters throughout the ages inspired my theoretical and practical approach.
I specially thank my parents for without their constant encouragements and guidance over the years this work would not have been possible, and without the open-minded cultural environment provided by them in my youth the subject of cultural acoustics would not have appeared.
ISBN 1-880464-07-1
Price: US$ 22.95
US shipping & handling: US$ 3.50
Foreign shipping & handling: US$ 4.50
Book size: 6" X 9" paperback
Total 222 pages
fully illustrated
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