![]() This fondness for duple rhythm (the Western equivalent of 2/4 and 4/4) can be attributed to the belief in the principle of natural duality (such as the female-male or yin-yang relationship). These tendencies in the use of melodies are related to the tonal characteristics of the contrasting dialects of the two areas.Įxcept in special cases (such as free-rhythm introductions), most Chinese music is in duple rhythm. Northern melodies tend to progress in more disjunct, angular motion, and emphasize intervals of a fourth. Southern Chinese folk songs tend to progress in more conjunct motion and smoother lines and emphasize the intervals of thirds and fifths. They also use various forms of a five-tone pentatonic scale (See figure 2 in Han Chinese Music Scales). The Han Chinese have at least three forms of a seven-tone scale (See figure 1 in Han Chinese Music Scales). The common belief that the Chinese scale is a pentatonic scale (without half steps) is only partly correct. Chinese music today is also influenced by Western musical concepts, which is an inevitable consequence of historical and social change. Life seems to be easier, and the folk songs of the south are generally lyrical and gentle in nature. The south, on the other hand, has mild weather and much rain. The hardships of life are reflected in the high-pitched, tense, and agitated style of folk song. ![]() ![]() Although both styles emanate from the general Han Chinese culture, they differ in detail because of environmental conditions. The styles correspond to the two major geographical and cultural areas where most Han people live. When discussing Han Chinese music, it is common to distinguish two major styles: northern and southern. Introduce your class to the Musical Styles, Vocal Music, Instruments, and Tradition of the Han Chinese culture.
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