Catholic Music in Macau and Mainland China During the Late Ming and Early Qing Dynasties
224 Chapter 7 Chapter 7 Catholic Music in Macau and Mainland China during the Late Ming and Early Qing Dynasties In this essay, the expression “Catholic music” is used to refer to the European music brought to Macau and mainland China directly by European missionar- ies, including musical theory, musical composition, musical instruments, and the chants used in Catholic ritual.1 Before the Ming dynasty (i.e., prior to 1368), many Christian churches had been built in China thanks to the spread of Christianity during the Tang (618–907), Song (960–1279), and Yuan (1279–1368) dynasties. During the Yuan dynasty, for example, Franciscan missionaries built three magnificent churches in Quanzhou city alone.2 It can be assumed, therefore, that Catholic music would have been introduced into China together with church music well before the Yuan dynasty. However, after the Yuan dynasty, as Catholicism disappeared in China, Catholic music also vanished. As European merchants and missionaries headed east from the middle years of the Ming dynasty onwards, Catholic music was once again introduced into China. According to the available sources, Shuangyu port, in the Ningbo area of Zhejiang province, was the first place into which Catholic music was introduced during the Ming period. The Portuguese explorer Fernão Mendes Pinto 平托 (1509–83) gave the following account of Shuangyu port: Antonio de Faria boarded this boat. Amid the extremely loud music of trumpet, flute, timpani, treble flute, and bass drum as well as the earsplit- 1 The research on this topic
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