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PART Ⅰ．—THE ORIGIN OF THE ART 3

INTRODUCTION．—LANGUAGE AND MELODY 3

CHAPTER Ⅰ．—THE MUSIC OF THE CHINESE LANGUAGE 10

CHAPTER Ⅱ．—THE BASIS OF MUSICAL COMPOSITION 19

PART Ⅱ．—THE DEVELOPMENT OF THE ART 47

CHAPTER Ⅲ．—THE ART OF MUSICAL COMPOSITION 47

CHAPTER Ⅳ．—SCALE STRUCTURE 63

CHAPTER Ⅴ．—PARALLELS BETWEEN THE NEUMES OF CHINA AND EUROPE 81

PART Ⅲ．—ANALYSES OF COMPOSITIONS OF HIGHEST DEVELOPMENT 89

CHAPTER Ⅵ．—NOTATION 89

CHAPTER Ⅶ．—METHOD OF STUDY 97

CHAPTER Ⅷ．—MUSIC-POEMS AND MELODIES OF HIGHEST DEVELOPMENT.THEIR TRANSCRIPTION AND ANALYSIS 104

Music-Poems composed in the T'ang and Sung dynasties with tonal superstructure added in the Ch'ing dynasty:Music-Poem I(Untitled),analysed to show the strict application of tones upon neumes;the basis of melody,rhythm and form analysed 104

Music-Poem Ⅱ(Tan Kuei),analysed to demon-strate the general application of tones to neumes;its melody,rhythm and form analysed 125

Music-Poem Ⅲ(Chu Chih),analysed to illustrate one of the shortest forms of musical composition;its melody,rhythm and form analysed 140

Music Poem Ⅳ(P？n I), analysed to show the basis of structure and ones in a larger composition;its melody,rhythm and form analysed 145

Music Poem Ⅴ(Unitlted)with structure and onal superstructure entirely composed in the Sung dynasty;analysed to show the significance of scale notation,and the thematic structure and tonal superstructure in relation to the whole composition 168

Music-Poems Ⅵ—Ⅸof the Sung dynasty,transcribed to show the use of modes,seven and nine tone scales 172

PARTⅣ．—CONCLUSION 181

CHAPTER Ⅸ．—THE RECONSTRUCTION OF THE ANCIENT ART 181

CHAPTER Ⅹ．—REMARKS ON THE FUTURE OF CHINESE MUSIC 197

APPENDICES 210

Ⅰ．—Table of 36 Chinese phonetic elements according to the different tones of the scale and dynamic quality drawn up in the Liang Dynasty（502-534） 210

Ⅱ．—Karlgren's arrangement of various phonems as to their natural difference in audibility 210

Ⅲ．—Karlgren's arrangement of the phonetic elements as to higher and lower pitch values 210

Ⅳ．—Example of purely Western instrumental composition and its basis of form as defined by Chinese symbols of structure 212

BIBLIOGRAPHIES 214

Works in European Languages 214

Chinese works 216

INDEX 220