Music from the Tang Court: Volume 7: Some Ancient by Laurence E. R. Picken, Noël J. Nickson
By Laurence E. R. Picken, Noël J. Nickson
The sequence of volumes of track from the Tang courtroom considers a repertory of track not less than 1400 years previous. in the course of the centuries ahead of 841 the japanese court docket borrowed a large number of secular leisure track from China. This 'Tang track' (Togaku) survives in Japan in a considerable physique of manuscripts, yet is reworked in personality in modern functionality. This version transcribes and reviews at the tune because it survives in its earliest assets. This method has published astonishing facts for historic interconnections in Asian musics, and the essays during this 7th quantity current points of this examine to this point. they supply facts, for instance, of song in a scale of 4 notes in simple terms from Bali and from historical China, in addition to, most importantly, for the transportation from the Tang capital to Japan of 'several tens of scrolls of tune in tablature'.
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Additional info for Music from the Tang Court: Volume 7: Some Ancient Connections Explored (v. 7)
Sample text
In this period, it is already apparent that adaptation was taking place; but the nature of the adaptive process in relation to music was not - as it later became - fundamental. 25 Tablatures in chronological sequence - from Gogen kinfu S S W If to Hakuga, to Moronaga's Sango-yoroku; from iCo *So-yw to Ruiso-chiyo and Moronaga's Jinchi-yoroku; from ATo/w to Shinsen-shoteki-fu; and from Hakuga to laterflute-MSSof all kinds - show us that what happened first (during the Heian period) was a reduction in bulk of the primary musical material embodied in tablatures: a shortening of items, from perhaps five or six movements in the flute-score HFF, to a single movement in the string-scores of Moronaga and the sho scores of the thirteenth and early fourteenth centuries.
31 Of interest is the fact that unlike the Table in ZKKS, the TGS Table sets out the series of finals in ascending order from D to E', where ZKKS runs the series of finals fromE toDf, although in neither instance is tessitura explicit. Furthermore, it is evident in TGS that it is the Sho/Shang F§f pentatonic set of the Ichikotsu mode-key that determines the structure of the TGS Table and the sequence of mode-keys in ZKKS, In the latter, Hyojo and Taishiki-cho occur at the same locus, since each can be regarded, skeletally, as utilising the same pentatonic framework: e,f, a, b, cK The Table of seven Shang/Sho modes in the Tang-set of YFZL (Picken, 1969, p.
Had shown this already (Marett, 1976) by his analysis of the sources utilised by Minamoto no Hiromasa (Hakuga) M W 3ft in assembling his 'Newly Edited Music Scores' (Shinsen gaku-fu §f SI M ia). These sources are listed in the Postface to HFF. Hakuga's immediate source was a set of three scrolls coming from Prince Sadayasu (873-924). Inspection revealed that at least six different systems of notation are to be distinguished in HFF. Representing these by Roman numerals from I to VI, it was possible to show that systems III-VI are probably older than systems I and II, in which the greater part of Hakuga's score is written.