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The Modern Chinese Orchestra Author(S): Han Kuo-Huang and Judith Gray Source: Asian Music, Vol

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The Modern Chinese Orchestra Author(S): Han Kuo-Huang and Judith Gray Source: Asian Music, Vol The Modern Chinese Orchestra Author(s): Han Kuo-Huang and Judith Gray Source: Asian Music, Vol. 11, No. 1 (1979), pp. 1-43 Published by: University of Texas Press Stable URL: http://www.jstor.org/stable/833965 . Accessed: 08/07/2014 18:39 Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp . JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. University of Texas Press is collaborating with JSTOR to digitize, preserve and extend access to Asian Music. http://www.jstor.org This content downloaded from 130.216.224.242 on Tue, 8 Jul 2014 18:39:43 PM All use subject to JSTOR Terms and Conditions THE MODERNCHINESE ORCHESTRA By Han Kuo-Huang Introductory Notes This paper deals with the new Chinese ensemble featuring improved and standardized traditional instru- ments.1 The name of this ensemble varies according to geographical areas - in Mainland China: Minzu Yuetuan or Minzu Yuedui, in Hong Kong: Zhongyuetuan, in Taiwan: Guoyuetuan, all meaning "national or "Chinese" orchestra. In this paper I will use the generic name "Chinese Orchestra" to avoid confusion. In order to distinguish this orchestra from many historical orchestras and local ensembles, the adjective "modern" is attached. Names of instruments are given without explanation, except in their first appearances and in special cases. A glossary is provided at the end of the paper. Romanization of Chinese names follows the Pinyin system, except in the conventionalized spelling of city names such as Peking, Nanking, Chungking, etc. This research was partially funded by a grant from the Northern Illinois University Graduate School. I. BACKGROUND A. Historical Entertainment Orchestras Legend tells us that when the Yellow Emperor (c. 2697?-2598? B.C.) retired to a hut to discipline his mind and body after years of ruling China, he discarded all governmental and earthly materials, among them his orchestra of "bells and drums". (Liezi 1960: 34) Inscribed oracle bones from the Shang Dynasty (c. 1766- 1154 B.C.) reveal that the musical instruments employed 1 In referring to this recent change in Chinese musical instruments, I am tempted to use quotes around the word "improved" because it is a translation of a Chinese expression and not the value judgement of a Western scholar. In fact, most Chinese people think that the instruments have been greatly improved, and for this reason quotes will not be used here. 1 This content downloaded from 130.216.224.242 on Tue, 8 Jul 2014 18:39:43 PM All use subject to JSTOR Terms and Conditions during that period were "the hand drums, drums struck by drum-sticks, the flutes, sonorous stones, and bells." (Gibson 1937: 12) The Yili (I Li) describes the ceremonial orchestra for the great archery game in the Western Zhou Dynasty (1066-770 B.C.) as having 2 big bronze bells (bo), 2 bronze bells (zhong), 3 big drums ('iangu), 2 sma-l drums (pi), 1 hand drum (tao), 2 stone c himesi( ing), 4 zithers (se), ard 3 mouth organs (sheg and tang) (I Li 1917: 151). From antiquity the Chinese have employed -rchestras of different sizes for official ceremonies and royal entertainment. From archaeological, pictorial, and literary sources, we can see that idiophones and membranophones dominated the pre-Shang orchestras; next in importance were aerophones. (Li, C. 1964: 16-23; 39-46) The orchestras of the Han Dynasty (206 B.C.-220 A.D.) show similar patterns of instrumenta- tion, though with a slight increase of aerophones and chordophones. (See pictures in Needham 1962: Fig. 299, 300, 301; Sullivan 1973: 62 and 90) The influx of foreign music and instruments that started during the Han Dynasty and continued for several centuries gradually changed the structure of the Chinese orchestra. Orchestras were formed according to their functions, broadly grouped as ritual, ceremonial-entertain- ment, and processional. In the long and complicated process of evolution, no one type of orchestra sustained the exact instrumentation. Generally speaking, however, a ritual orchestra which was used for Jisi (rites), performed Yayue (elegant music) and employed instruments of Chinese origin such as bronze bells, stone chimes, zithers and wind instruments. The ceremonial-entertain- ment orchestra which was used for Yanxiang (court ceremonies and banquets) and entertainment, performed Yanyue (banquet music) and employed more instruments of foreign origin. As time went on, the function of this type of orchestra became almost exclusively that of entertainment. The processional bands were known by different names, but could be collectively called Guchui (drums and winds). They were used for processions and other outdoor occasions, and tended to employ mainly foreign instruments of the reed and flute families and a large battery of percussion. It should be noted that due to assimilation, the foreign instruments of one period of Chinese history became the Chinese instruments of a later period. For the purposes of this paper, examples are drawn from the entertainment orchestras of various periods. The establishment of entertainment orchestras based upon their country of origin began in the Sui Dynasty 2 This content downloaded from 130.216.224.242 on Tue, 8 Jul 2014 18:39:43 PM All use subject to JSTOR Terms and Conditions (581-618 A.C.) and culminated in the Shibuji (the Ten Orchestras) of the early Tang period (640-642 A.D.) In addition to two Chinese orchestras, the Qingyue and the there were orchestras from West Liang, Yanyue, Kutcha, Kashgar, Bukhara, Samarkand, Turfan, India, and Korea. The detailed instrumentation of each orchestra has been studied by Kishibe (1973: 493-567). One selected example may serve to reveal the change of attention in instrumenta- tion. For instance, the Indian Orchestra of the Shibuji consisted of the following instruments as listed in Tongdien (Comprehensive Institute) compiled by Du You (735-812 A.D.) (Kishibe 1973: 506-7): Fig. 1 - The Indian Orchestra in the Shibuji of Early Tang Idiophones Membranophones Chordophones Aerophones tongbo (brass Qianggu (drum) fengshou konghou bili (oboe) cymbals) (phoenix-headed Maoyuangu (drum) harp) hengdi Duyungu (drum) (transverse pipa (lute) flute) wuxian pipa (5- bei (shell) str. lute) All the instruments were of foreign origin at that time. In terms of this classification, a sense of balance is seen in the increase of stringed instruments and the absence of bells and chimes. It is a very different orchestra as compared to the orchestras of antiquity mentioned earlier. Many foreign instruments like these were mixed with domestic ones in later orchestras and, as time went on, were Sinicized. The famous Dunhuang frescos painted around 642 A.D., in which Buddhist apsaras were shown with instruments, represent not one single orchestra of the Shibuji of the early Tang, but an ideal amalagmation of domestic and foreign elements in Chinese orchestra arrangements at that time and after. (Needham 1962: Fig. 313 and 314) The best pictorial examples of entertainment orchestras are the several paintings of female musicians, most of which supposedly depict entertainment scenes in the chamber of Emperor Tang Xuanzong (713-755 A.C.) One such painting attributed to Zhou Wenju of the Southern Tang Dynasty (923-936 A.D.) is now in the Art Institute of Chicago. (Speiser 1960: 165) Despite the fact that it could be a Song Dynasty (960-1279 A.D.) copy, and conse- quently represent a Song orchestra (Kishibe 1965: 108), it presents several points of interest common to entertainment 3 This content downloaded from 130.216.224.242 on Tue, 8 Jul 2014 18:39:43 PM All use subject to JSTOR Terms and Conditions orchestras since the Tang Dynasty. Nineteen female musicians are divided into two groups and directed by a dagu (big drum). The instruments can be broken down as follows: Fig. 2 - Orchestra in the Painting of Zhou Wenju Idiophones Membranophones Chordophones Aerophones fangxiang dagu (big drum) 1 *pipa (lute) 2 sheng (mouth (iron chimes) organ) 2 2 *yaogu (hour- zheng (zither) glass drum) 2 2 *bili (oboe) paiban (clap- 1 pers) 2 *konghou (Harp) 2 *di (trans- verse flute) 2 xiao (vertical flute) 1 *denotes foreign origin at that time. number denotes number of players. The synthesis of domestic and foreign elements is evident in the above chart. It is significant to note the leading roles of the two pipa players in the front of each group, a tradition still preserved in local genres such as Nanguan ensemble music of southern China. The use of paiban clappers in each group is to control rhythm, a practice also in use in Nanguan music today. We may assume that this type of orchestra, as shown in the painting, is a representation of the old Chinese entertainment orchestra. The treatment of the twenty-two female musicians and two female dancers carved on the stone coffin of King Wang Jian of the Former Shu Dynasty (903-925 A.D.) further confirms the above assumption regarding the leading roles of the pipa and paiban. The musicians and dancers are arranged in the south (front), east and west sides of the coffin. The four figures carved on the south side are the two dancers, a pipa player and one of the paiban players, presumably more important than the others carved on the sides. Moreover, these two musicians and the two dancers have more elaborate breast covers than the musicians carved on the east and west sides of the coffin.
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