The concept of Music must be recovered in antiquity when it was still considered the supreme art of man's non-verbal expression. An expression that imitated human language and developed sound after sound (Melos). Both in the East and West of Europe, other advanced civilizations used music in a melodic way as an expression of the human soul, and as an expression towards the divine. So what led to the total rupture and distance between vertical and horizontal absolute music?

 

The definition of horizontal music is melodic music, while that of vertical music is harmonic music, which makes extensive use of sets of overlapping consonant or dissonant sounds (harmony).

 

History teaches us, erroneously or partially, that it was the evolution of man that made music develop vertically, harmonically and architecturally. In reality all this was dictated by a mistake. Even though centuries have passed, this still appears today, a single melody sung by two people of different sexes involuntarily produces a timbral-harmonic embryo (like the possible beats produced in the monody of Gregorian Chant, 8th century, and the intonation errors). Therefore, paradoxically, it cannot be said that it was human evolution that oriented European music towards vertical architecture but rather mistakes produced by the singers, while other populations as ancient as the European one continued along the evolutionary path. And even more paradoxical is the system that was created in the last century when a group of musicians (mostly European) decided what was good music and what was not, denying the various attempts to rejoin the evolutionary path of populations non-European.

 

Chinese music is often considered "horizontal" because it places a strong emphasis on melody rather than harmony, with relatively little rhythmic complexity compared to other musical genres. In traditional Chinese music, melodies are often based on pentatonic scales and melodic patterns rich in emotional overtones. These melodies can be elaborate and ornate, with subtle variations in key and pitch. Furthermore, harmony is present but is more subtle and implicit than in Western musical styles, with a greater emphasis on the balance between melodic lines and the use of traditional instruments, such as the guqin, erhu, pipa and the guzheng to create complex harmonious textures.

 

To summarize, it can be said that there are several significant differences between Chinese and European music, which derive from their respective cultures, traditions and musical styles. Some of the main differences (in addition to the instrumental ones that use traditional indigenous instruments such as the guqin, pipa, erhu and guzheng) include:

1. Scales and intonation. Traditional Chinese music often uses pentatonic scales and modes different from those used in European music. For example, the Chinese pentatonic scale consists of five notes, while the European diatonic scale has seven notes. Furthermore, the intonation and modulation of notes can vary significantly between the two traditions. The pentatonic scale has historically been very important in Chinese music and is used in a variety of musical contexts, from folk music to more sophisticated compositions. Chinese music often uses different modalities than European music. Chinese modes, or "melodic dialects", can vary from region to region and are characterized by different combinations of tones and semitones that create distinctive atmospheres and sensations. For example, the "Gong" mode is considered one of the most common and important modes in Chinese music and has a solemn and majestic quality. It is also known as the "Gongchihui" mode

(宫尺徽, Gōngchǐhuī) or "Gōng mode" (宫调, Gōng diào). This mode is fundamental in Chinese music theory and has a long history of use in traditional Chinese music. The "Gong" mode is based on the root "Gong", which corresponds to the root note of a scale. In Chinese music theory, the "Gong" is considered the central tone or tonic of the modality. This basic tone serves as a starting point for building a modal scale, which can include additional tones to create a specific mode with a distinct melodic character. The "Gong" mode is often associated with a solemn, majestic and stable quality. It is widely used in traditional Chinese music in a variety of contexts, including folk music, ceremonial music, and more elaborate compositions. This mode can be used to create a variety of emotions and atmospheres, depending on the context and the musician's interpretation. In addition to the "Gong" mode, there are other important modes in traditional Chinese music, each with its own distinctive characteristics and melodic qualities. For example, there are modes such as "Shang", "Jiao", "Zhi" and "Yu", each with its own specific emotional scale and connotations. While the "Gong" mode plays a crucial role in traditional Chinese music, helping to create a wide range of musical compositions that reflect China's rich history and cultural diversity, the "Yu" (律, Lǜ) mode is another among the most important modalities in traditional Chinese music. It is also known as the "Yuèlǜ" mode (乐律, Yuèlǜ) or "fullness mode" (丰律, Fēnglǜ). This mode has a long history of use in Chinese music and plays a significant role in creating emotional atmospheres and specific sound atmospheres.

 

Regarding intonation, traditional Chinese music often uses a different intonation system than European music. For example, the Chinese "Jianpu" pitch system is based on a different set of intervals than the equal pitch used in Western music. This pitch system affects the melody and tonal relationships in Chinese music, creating a unique and distinctive sound. Overall, scales and intonation are key elements that contribute to the distinctive sound of traditional Chinese music and significantly differentiate it from European music.

 

2. Harmony and polyphony. While European music often emphasizes harmony and polyphony, with complex chords and counterpoint, traditional Chinese music focuses more on melody and implicit harmony. Although there are examples of polyphony in Chinese music, such as in traditional choirs or instrumental ensemble pieces, its main emphasis is on melodies and rich sound textures. In many forms of Chinese music, melody is the dominant element, with instruments such as the guqin or guzheng creating complex harmonic textures through the use of implicit chords and note overlaps. Additionally, polyphony, or the presence of multiple independent melodic lines played simultaneously, is more common in European music than in Chinese music. In Chinese music, there is often a predominant melody that the other instruments focus on, creating a "main melody and accompaniment" effect. Although there are examples of polyphony in Chinese music, such as in traditional choirs or instrumental ensemble pieces, polyphony is not as widespread as in the European tradition.

 

3. Form and structure: Traditional musical forms in China, such as "qu" (Chinese opera), "guqin" (Chinese lute music), and "Chinese symphony", often have a different structure and form than of classical European music. For example, the "qu" is a dramatic form that combines music, singing, dance and acting, while the European symphony for example is often structured into distinct movements. In Chinese music, forms and structures can be more fluid and flexible, with less rigidity in their organization. For example, traditional Chinese music may follow narrative or descriptive forms that suit the story or emotional content of the music. An example of this is the "qu" (Chinese opera) form, which combines music, singing, dancing and acting into a single dramatic work with a complex narrative structure. Furthermore, different approaches to structure and form can be used, depending on the musical genre or context. For example, while some solo instrument pieces such as guqin may be improvised and lack a fixed structured form, other genres such as chamber music or Chinese symphony may follow a more defined structure with clearly delineated sections.

 

I mention only some Chinese composers who in their compositional path have kept the Chinese musical tradition alive in their works even if “infected” with European music (agreeing with the thoughts of the sociologist and anthropologist Dan Sperber in "The contagion of ideas - naturalistic theory of culture"). Perhaps the most renowned composer is certainly Tan Dun (Changsha, 1957), as well as his contemporary Qigang Chen (Shanghai, 1951), but before them we must remember two masters who "infected" Chinese music with European music such as Luo Zhongrong (1924-2021) and even before Tan Xiaolin (Shanghai, 1912-1948). You can find an extensive description of their biographies on Wikipedia.

 

 

 

In chronological order

 

Tan Xiaolin (Shanghai, 1912-1948), one of the most innovative Chinese composers of the first half of the 20th century, wrote a series of highly original art songs that are now part of the standard repertoire of this genre in China, yet remain virtually unknown outside outside the country. Tan's production through the lens of identity politics is as Influenced by the Freudian concept of 'dream work' (traum arbeit). Analyzing these works and the period to which they belong, it can be stated that his poetics are divided between the two poles: China and the West (mainly the United States).

 

String Trio (1944/45)

https://youtu.be/PHivzjYZARo?si=U2ro2iAN11wThLhX

 

Duet for violin and viola (1943)

https://youtu.be/W8JjbkBzwoo?si=UwFxNwkPXKjdyJE9  

 

Parting (1946)

https://youtu.be/0fyFmb73QUc?si=aZsPIwtH5NwIWsJ4

 

 

 

Luo Zhongrong (1924-2021) was a distinguished composer, theorist, professor and doctoral supervisor at the Chinese Conservatory of Music. He also received the Lifetime Achievement Honorary Medal of the 4th China Music Golden Bell Awards. Born in Santai County, Sichuan Province, Luo began his musical studies in 1942 at the Sichuan Provincial Art School in Chengdu, specializing in violin and composition. In 1944 he moved to the Shanghai National Conservatory of Music to continue his violin studies and also studied composition with Professor Tan Xiaolin. Luo composed his first work, the song "Shan Na Bian Yo Hao Di Fang", in 1947, which quickly became popular throughout the country. This marked his gradual transition from violin playing to composition. Two years later, he studied counterpoint with Ding Shande and taught himself composition. In 1951 Luo moved to Beijing to work in the composition group of the Central Orchestra. In 1958 he composed his first symphonic work, “Overture to the Completion Ceremony of the Thirteen Tombs Reservoir,” followed by his “First Symphony” in 1958-59. Both works, conducted by the famous Chinese conductor Li Delun and performed by the Beijing Central Symphony Orchestra, achieved great success. During the Cultural Revolution, Luo, despite being politically persecuted, composed the famous “Shajiabang” symphony choir. His works are known for their vibrant colors and conciseness, and even during his incarceration for 2 years, Luo continued to study Hindemith's "The Art of Musical Composition", eventually developing his unique theory of " pentatonic row of twelve tones". In 1985, Luo became a professor in the composition department of the Chinese Conservatory of Music and received a scholarship from the German Academic Exchange Service (DAAD), which led him to visit West Berlin for creative work and other musical activities. He also gave a concert of his works there. In 1988, he participated in the historically significant “Cross-Strait Composers Symposium” in New York. In 2004, Luo received the Lifetime Honor Award of the China Music Golden Bell Awards. He died on September 2, 2021, aged 97.

 

Symphony No.1 (1950)

https://youtu.be/VCXbH2vQNfU?si=VVdhJtCubEbhFOpP

 

Three Cantonese scenes (1981?)

https://youtu.be/uCI-aLUD6kU?si=LncvZWDuoJuDAimd

 

 

 

Qigang Chen (Shanghai, 1951) is a Chinese composer with French citizenship. He has lived in France since 1984 and obtained French citizenship in 1992. Coming from an intellectual family, Qigang Chen began his musical studies as a child. When he was a teenager he faced the Cultural Revolution and spent three years locked up in a barracks, undergoing "ideological re-education". However, his passion for music remained unshakable and, despite social pressure and anti-cultural politics, he continued his training in composition. In 1977 Qigang Chen was one of 26 out of two thousand applicants to be accepted into the composition class at the Beijing Central Conservatory. After five years of studies with Luo Zhongrong, in 1983 he was nominated for the national competition where he came first. As a result, he was the only one in his field to be allowed to go abroad to pursue graduate studies in composition. He was Olivier Messiaen's last student, from 1984 to 1988. His first five years in France allowed him to broaden the scope of his culture and gain new knowledge about 20th century music.

 

Wu Xing - The five elements (1999)

https://youtu.be/aGyaemEWYFI?si=T_6NQ4rkntJdKH_B

 

Yuan – Origins (1987/88)

https://youtu.be/b2nqNqlCWeI?si=bCMePGPWXk_-btDM

 

 

 

Tan Dun was born in 1957 in a village in Changsha in Hunan, China. As a child, he was fascinated by the village shaman's rituals and ceremonies, which were typically accompanied by music made from natural objects such as rocks and water. Due to bans enacted during the Cultural Revolution, he was discouraged from pursuing music and was sent to work as a rice planter in Huangjin commune. He joined a group of other commune residents and learned to play traditional Chinese string instruments. Following a ferry accident that killed several members of a Beijing opera company, Tan Dun was called upon as a violist and arranger. This early success earned him a place in the orchestra, and from there he went to study at the Beijing Central Conservatory of Music in 1977. While at the Conservatory, Tan Dun came into contact with composers such as Toru Takemitsu, George Crumb, Alexander Goehr, Hans Werner Henze, Isang Yun and Chou Wen-Chung, all of whom influenced his sense of musical style. In 1986, he moved to New York City as a doctoral student at Columbia University, studying once again with Chou Wen-Chung, who had studied with Edgard Varèse. At Columbia, Tan Dun discovered the music of composers such as Philip Glass, John Cage, Meredith Monk, and Steve Reich and began to incorporate these influences into his compositions. He completed his thesis, Death and Fire: Dialogue with Paul Klee, in 1993. Inspired by a visit to the Museum of Modern Art, Death and Fire is a short symphony in dialogue with the paintings of Paul Klee. On June 15, 2016 he created the opening theme for the Shanghai Disney Resort. Since August 1, 2019 he has been appointed dean of the Bard College Conservatory of Music.

 

Water Concerto for water percussion and orchestra (1998)

https://www.youtube.com/watch?v=dp3Q4EDaogs

 

Concerto for string orchestra and guzheng (1999)

https://www.youtube.com/watch?v=Vz8uFugb1MY

 

Water Music for 4 percussionists (2004)

https://www.youtube.com/watch?v=nmtRoZ8pgrs

 

 

The next link contains a series of 100 conservatory-trained modern Chinese composers from 1912 onwards who wrote symphonic, ensemble and solo instrumental music using Western instruments, as well as solo choral and vocal music, adopting Western keys or avant-garde techniques. They are considered key historical figures and drivers of the history of modern Chinese music.

 

https://globalmusicalmodernisms.hcommons.org/category/uncategorized/#:~:text=Chinese%20music%20history.-,Luo%20Zhongrong%20(1924.12.,China%20Music%20Golden%20Bell%20Awards

 

 

In conclusion, it can be asserted that Chinese music has continued from its origins in a very specific direction despite the influences of Western music, only in the composers who wanted to return to their native land, so that the musical culture could be passed down.

 

(Massimiliano Messieri)