‘There is no music in Chinese music history.’ This paradox is often expressed by music scholars in Hong Kong, a modern metropolis in which Chinese and Western musics and music scholarship mingle and thrive. Highlighting the contrasts between traditional Chinese and contemporary Western views of music and music historiography, the paradox refers to the scholars' observation that Chinese music histories include few descriptions of actual music, and that performances of early Chinese music are often inauthentic. Published accounts of China's musical past include little hard evidence about the structure and sounds of specific musical works. Thus, the scholars argue, the accounts are more theoretical than factual, and their musical descriptions disputable. Public performances and recorded examples of early Chinese music reveal obvious use of Western tonal harmony and counterpoint, and thus cannot be authentic music from China of the past. The scholars' arguments, however, cannot refute that in Hong Kong many Chinese music masters and audiences find the so-called early Chinese music authentic and its histories credible.
