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HISTORY OF CHINESE MUSIC.              135
is remarkable that his researches into the propor­tions of tones, led him to the same results that were afterwards discovered by the best acousticians pf Europe.
Kang-Hi, in the year 1678-9, worked for the art in an extraordinary manner; he founded an academy of music, and made his third son president of the institution; he wrote a work, " The true method of the Ly-lu," in four books, and had a fifth added " concerning European music."* In a proclamation concerning the diminution of the number of court-musicians, Kang-hi says, " Music has power to quiet the heart, and therefore was beloved by our sages. They also could while enjoying themselves at its practice, benefit themselves, because the funda­mental principles of government are contained in the art of music. But such a comparison scarcely is suitable to virtuosity. "Why, therefore, expend noney on it? I approve of the action of Ngai-Ti, 'a former emperor) in discharging them."
The knowledge of European music, which this imperor attained, in opposition to all previous custom in China, came through the Jesuit mission­ary Pereira, a Portuguese by birth; and Grimaldi, i missionary of the Propaganda. He found it [contrary to the custom of the Chinese) quite to hia :aste.t He was particularly astounded by the bility of Father Pereira to set down in r otes, and
* Ambroe, Gesch, der Musik, p. 27, r. 1. Ambros, Gesch. d Mas. p. 32.






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