The Characteristics of Chinese Music
Except in special cases(such as free-rhythm introductions), most Chinese music is in duple rhythm. 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).
Chinese rhythm patterns may also reflect the Confucian Zhongyong concept: a doctrine of mean that stresses moderation and balance. However, the weakd boecattrin toe s otfro tnhge beat stresses in Western music is not necessarily used. Triple meter is rare, even in modem folk compositions. Syncopation, on the other hand, is the norm rather than the exception.
Chinese instrumental music is traditionally heterophonic if it is performed on more than one instrument or for an instrument and voice. Although Chinese music does not use the triadic, four-part harmonic progressions of Westem music, harmony may occur occasionally. In fact, the sheng mouth organ produces fourths and fifths when played in the traditional manner, and some qin and zheng zither passages have two or more pitches sounding together when themusicians pluck two or more strings simultaneously. The Chinese people fondness for clarity may have prevented them from developing a heavy musical texture.
