In China music is for the most part confined to sacred ceremonies and dancing. Père Amiot, a French missionary who spent some time in China in the second half of the eighteenth century, wrote down the following celebrated chorus; a hymn in honor of the ancestors, sung in the emperor’s presence to the accompaniment of sacred dances, and the typical Chinese orchestra: [Illustration: PART ONE.] See hoang sıen Tsou Yo lıng yu Tıen. Yuen yen tsıng heou. Yeou kao tay hıuen. Hıuen sun cheou mıng. Tchouı yuen kı sıen Mıng yu ché tsoung. Y-ouan see inen. [Illustration: PART TWO.] Touı yué tché tsıng. Yen jan jou cheng. Kı kı tchao ming. Kan ko tsaı ting. Jou kıen kı hıng. Jou ouen kı cheng. Ngaı eulb kıng tché. Fa hou tchoung tsıng. [Illustration: PART THREE.] Duei tsıen jin koung. Tê tchao yng Tıen. Lu yuen kı yu. Sıao-tsee. Yuen cheou sang koue. Yu pao kı tê, Hao Tıen ouang kı. Yu tsin san hıen. Duo sin yué y. At private and ceremonial banquets, also, dancing to orchestral accompaniment is usual. _Solo_, in the province of Yunnan, the most southwestern division of China, supplies the musicians and dancers for the private orchestras and entertainments of mandarins throughout the Celestial empire. Then, too, the Chinese orchestra finds a place in theatrical representations. The songs to be heard in every Chinese city at eventide to the crude accompaniment of mandolins and guitars may attest a popular fondness for music, but the gongs continually sounding in the temples and innumerable tinkling bells upon the towers and pagodas can hardly be said to constitute music. In Siam, Burmah, Cambodia, and Java the arts of music and dancing have always been held in high esteem. In Java the native dances are marked by gravity and harmony of movement. The average ambulant band in that country consists of six players, while the _gamelags_ of native sovereigns like the sultan of Djokka or the emperor of Solo usually comprise a dozen. The Siamese have ballet performances of posturing and slow, deliberate dancing, most of which are pantomime plays with orchestral accompaniment, the story chanted by a kind of Greek chorus behind the scenes. The king of Cambodia maintains a large troupe of dancers, chosen among the most beautiful women in his realm, who preserve the tradition of the ancient dances of the land. The following air is a prelude to one of these Cambodian dances, sung by a female chorus with orchestral accompaniment: [Illustration: CAMBODIAN DANCE.]