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ANCIENT CHINA<br />

Continued from page 34<br />

moo and 70o B. C. Thus, the object of<br />

the Chinese musicologists and sound<br />

technicians had been triumphantly<br />

achieved: they had preserved the nation's<br />

sacred pitch standards and scale<br />

systems in stone for 3000 years! It also<br />

shows that the "Pythagorean" system<br />

of intervals was known and used in<br />

China 300 or 40o years before the<br />

Greek philosopher, after whom our<br />

own Western system was to be named,<br />

was ever born.<br />

In the subsequent centuries, when<br />

the scientists and lapidaries became<br />

more and more assured in their growing<br />

technical skill,'they set out for ever<br />

increasing ornamentation and began<br />

to incorporate the nation's music -<br />

cosmology into the sonorous material.<br />

They also turned to a precious material<br />

found to have superior sonorous qualities:<br />

jade. For probably more than 700<br />

years the Chinese acoustical laboratories<br />

studied the possibilities of flat<br />

circular jade disks with a central perforation,<br />

measuring between 5 and 18<br />

inches in diameter. Hundreds cf<br />

them, originating from the ninth w<br />

the third century B.C., were studied by<br />

this writer and found to show unmistakable<br />

traces of a tuning process. The<br />

techniques were similar to those found<br />

in bronze bells, and aimed at sharping<br />

as well as flatting tones. I also<br />

identified five different methods of<br />

drilling the central perforation to improve<br />

the tone qualities, and silk -<br />

thread suspension techniques. The<br />

objective was to curb the sidewise -<br />

sway of the suspended disks when<br />

they were played in scale sets. Their<br />

Chinese name, incidentally, is Pi.<br />

Some of the most perfect specimens<br />

were created between the sixth<br />

and fourth centuries B.C. They are<br />

completely covered with beautiful ornamentations<br />

carved or incised into<br />

the large surfaces, and show no more<br />

traces of a tuning process. The artists,<br />

consequently, calculated and knew in<br />

advance all dimensions of the disks,<br />

all physical properties of the jade material<br />

and all pitch- changing influences<br />

of the ornamental carving. A<br />

few of the finest specimens will produce,<br />

on one gentle stroke, a tone of<br />

crystal -clear beauty, gently undulating<br />

around a tonal pitch center, swelling<br />

and fading slightly in volume and intensity<br />

and lasting up to one minute<br />

Continued on next page<br />

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