Early Music History (2020) Volume 39. © Cambridge University Press doi:10.1017/S0261127920000078 Sheryl Chow Email:
[email protected] A LOCALISED BOUNDARY OBJECT: SEVENTEENTH-CENTURY WESTERN MUSIC THEORY IN CHINA In 1685, the Portuguese Jesuit Thomas Pereira was ordered by the Qing Kangxi emperor to write books on Western music theory in Chinese. Presented in the books were seventeenth- century practical and speculative music theories, including the coincidence theory of consonance. Invoking the concept of ‘boundary object’, this article shows that the cultural exchange, which gave rise to new knowledge by means of selection, synthesis and reinterpre- tation, was characterised by a lack of consensus between the transmitter and the receivers over the functions of the imported theories. Although the coincidence theory of consonance could potentially effect the transition from a pure numerical to a physical understanding of pitch, as in the European scientific revolution, it failed to flourish in China not only because of different theoretical concerns between European and Chinese musical traditions, but also because of its limited dissemination caused by Chinese print culture. In 1666, the Portuguese Jesuit Thomas Pereira (1645–1708) set sail from Lisbon for his mission to evangelise the world, never to see his homeland again. He stayed in Goa for four and a half years, trav- elling in 1671 to Macau, a coastal city in southern China leased to Portugal as a trading port in 1557. Word of his musical talent reached the Kangxi emperor (r.