《仁智要錄》與《三五要錄》所闡述的中國樂調理論:十二世紀後期中國七聲音階在日本的應用

Research output: Contribution to journalArticle

Abstract

本文是2001年筆者在香港城市大學舉辦的太平洋鄰里協會周年會議中發表的論文的中文譯本。全文以藤原師長(1138-1192)編纂的兩部樂譜集—《仁智要錄》與《三五要錄》為參考藍本,探討中國唐代(618-907)的樂調在傳入日本後,於日本平安時期(794-1192)後期的應用狀況,其中以探求中國七聲音階理論在日本平安後期的變化為主。
The paper was originally written in English. It is first presented in the 2001 Pacific Neighborhood Consortium Annual Conference and Joint Meetings (City University of Hong Kong) and then published as an acrobat file in a CD Rom proceedings (see note 1 in the paper). It concentrates of the practice of Chinese Tang (618~907) modes in late Heian period (794~1192) Japan, by referring to two score sets compiled by Fujiwara no Moronaga (1138~1192). The two score sets are Jinchi Yoroku and Sango Yoroku. Examination of the usage of the Chinese modal degree names in late Heian Japan is the main focus of this paper. Copyright © 2002 武漢音樂學院.
Original languageChinese
Pages (from-to)76-82
Journal黃鐘(武漢音樂學院學報)
Volume2002
Issue number3
DOIs
Publication statusPublished - 2002

Citation

吳國偉(2002):《仁智要錄》與《三五要錄》所闡述的中國樂調理論:十二世紀後期中國七聲音階在日本的應用,《黃鐘(武漢音樂學院學報)》,2002(3),76-82。

Keywords

  • 《仁智要錄》
  • 《三五要錄》
  • 七聲音階
  • 調子
  • 調弦
  • 調首
  • Jinchi Yoroku
  • Sango Yoroku
  • Modal degree names
  • Modes
  • Tunings
  • Tonic
  • Alt. title: The interpretation of Chinese modal theory in Jinchi Yoroku and Sango Yoroku: An examination on the usage of modal degree names in the late 12th century Japan