FOOTNOTES:[12]Musical development of civilized races removed from European influence.[13]Julien Tiersot:Notes d’ethnographie musicale(première séries), Paris, 1905.[14]What we may call modern Chinese music probably reached China through Bactria, a Greek kingdom, founded by Diodotus 256 B. C. Jesuit missionaries jumped to the conclusion that the Greeks borrowed the Pythagorean scale from the Chinese, but the ‘Chinese’ scale did not exist in China until two centuries after its appearance in Greece. Chinese literature on music goes back no farther than the ninth century of the Christian era, to which date may be assigned the Chieh Ku Lu, a treatise on the deer-skin drum, introduced into China from Central Asia, and evidently of Scythian origin. There are several important works of the sixteenth and seventeenth centuries in which the history and theory of music are fully discussed.[15]C. R. Day: ‘The Music and Musical Instruments of Southern India and the Deccan,’ London, 1891.[16]The music of araga, which is very popular in Central India, is given in Tiersot,Notes d’ethnographie musicale, Plate 10.[17]This finds a curious parallel in the music of the dance of theseisin the Cathedral of Seville—almost the only example of religious dancing in Christianity.[18]In the ‘dance of Krishna,’ a three-day religious saturnalia in honor of the youthful god, and in the obscene rites of Kali, the black goddess, thedevadhazisportray all the phases of physical passion.[19]‘A number of young girls slowly and gracefully sway and twist their lithe bodies in rhythm to the music of flageolets playing in minor mode. Most of the time they dance on their knees, bending and twisting, their hair sometimes standing out almost straight, then falling about their heads.’
FOOTNOTES:
[12]Musical development of civilized races removed from European influence.[13]Julien Tiersot:Notes d’ethnographie musicale(première séries), Paris, 1905.[14]What we may call modern Chinese music probably reached China through Bactria, a Greek kingdom, founded by Diodotus 256 B. C. Jesuit missionaries jumped to the conclusion that the Greeks borrowed the Pythagorean scale from the Chinese, but the ‘Chinese’ scale did not exist in China until two centuries after its appearance in Greece. Chinese literature on music goes back no farther than the ninth century of the Christian era, to which date may be assigned the Chieh Ku Lu, a treatise on the deer-skin drum, introduced into China from Central Asia, and evidently of Scythian origin. There are several important works of the sixteenth and seventeenth centuries in which the history and theory of music are fully discussed.[15]C. R. Day: ‘The Music and Musical Instruments of Southern India and the Deccan,’ London, 1891.[16]The music of araga, which is very popular in Central India, is given in Tiersot,Notes d’ethnographie musicale, Plate 10.[17]This finds a curious parallel in the music of the dance of theseisin the Cathedral of Seville—almost the only example of religious dancing in Christianity.[18]In the ‘dance of Krishna,’ a three-day religious saturnalia in honor of the youthful god, and in the obscene rites of Kali, the black goddess, thedevadhazisportray all the phases of physical passion.[19]‘A number of young girls slowly and gracefully sway and twist their lithe bodies in rhythm to the music of flageolets playing in minor mode. Most of the time they dance on their knees, bending and twisting, their hair sometimes standing out almost straight, then falling about their heads.’
[12]Musical development of civilized races removed from European influence.
[12]Musical development of civilized races removed from European influence.
[13]Julien Tiersot:Notes d’ethnographie musicale(première séries), Paris, 1905.
[13]Julien Tiersot:Notes d’ethnographie musicale(première séries), Paris, 1905.
[14]What we may call modern Chinese music probably reached China through Bactria, a Greek kingdom, founded by Diodotus 256 B. C. Jesuit missionaries jumped to the conclusion that the Greeks borrowed the Pythagorean scale from the Chinese, but the ‘Chinese’ scale did not exist in China until two centuries after its appearance in Greece. Chinese literature on music goes back no farther than the ninth century of the Christian era, to which date may be assigned the Chieh Ku Lu, a treatise on the deer-skin drum, introduced into China from Central Asia, and evidently of Scythian origin. There are several important works of the sixteenth and seventeenth centuries in which the history and theory of music are fully discussed.
[14]What we may call modern Chinese music probably reached China through Bactria, a Greek kingdom, founded by Diodotus 256 B. C. Jesuit missionaries jumped to the conclusion that the Greeks borrowed the Pythagorean scale from the Chinese, but the ‘Chinese’ scale did not exist in China until two centuries after its appearance in Greece. Chinese literature on music goes back no farther than the ninth century of the Christian era, to which date may be assigned the Chieh Ku Lu, a treatise on the deer-skin drum, introduced into China from Central Asia, and evidently of Scythian origin. There are several important works of the sixteenth and seventeenth centuries in which the history and theory of music are fully discussed.
[15]C. R. Day: ‘The Music and Musical Instruments of Southern India and the Deccan,’ London, 1891.
[15]C. R. Day: ‘The Music and Musical Instruments of Southern India and the Deccan,’ London, 1891.
[16]The music of araga, which is very popular in Central India, is given in Tiersot,Notes d’ethnographie musicale, Plate 10.
[16]The music of araga, which is very popular in Central India, is given in Tiersot,Notes d’ethnographie musicale, Plate 10.
[17]This finds a curious parallel in the music of the dance of theseisin the Cathedral of Seville—almost the only example of religious dancing in Christianity.
[17]This finds a curious parallel in the music of the dance of theseisin the Cathedral of Seville—almost the only example of religious dancing in Christianity.
[18]In the ‘dance of Krishna,’ a three-day religious saturnalia in honor of the youthful god, and in the obscene rites of Kali, the black goddess, thedevadhazisportray all the phases of physical passion.
[18]In the ‘dance of Krishna,’ a three-day religious saturnalia in honor of the youthful god, and in the obscene rites of Kali, the black goddess, thedevadhazisportray all the phases of physical passion.
[19]‘A number of young girls slowly and gracefully sway and twist their lithe bodies in rhythm to the music of flageolets playing in minor mode. Most of the time they dance on their knees, bending and twisting, their hair sometimes standing out almost straight, then falling about their heads.’
[19]‘A number of young girls slowly and gracefully sway and twist their lithe bodies in rhythm to the music of flageolets playing in minor mode. Most of the time they dance on their knees, bending and twisting, their hair sometimes standing out almost straight, then falling about their heads.’