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宋代宮廷音楽史再考――編鐘の形状改変を中心に――
https://toyo-bunko.repo.nii.ac.jp/records/6704
https://toyo-bunko.repo.nii.ac.jp/records/670442099d86-f64d-4939-9490-4a6aff2849a2
| 名前 / ファイル | ライセンス | アクション |
|---|---|---|
gakuho01_100-3-01.pdf (1.4 MB)
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| Item type | 学術雑誌論文 / Journal Article(1) | |||||||||||
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| 公開日 | 2019-04-09 | |||||||||||
| タイトル | ||||||||||||
| タイトル | 宋代宮廷音楽史再考――編鐘の形状改変を中心に―― | |||||||||||
| タイトル | ||||||||||||
| タイトル | Reexamining Song Dynasty Court Music: Focusing on the Transformation of Bianzhong Chimes | |||||||||||
| 言語 | ||||||||||||
| 資源タイプ | ||||||||||||
| 資源タイプ識別子 | http://purl.org/coar/resource_type/c_6501 | |||||||||||
| 資源タイプ | journal article | |||||||||||
| 著者 |
松浦, 晶子
× 松浦, 晶子
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| 抄録 | ||||||||||||
| 内容記述タイプ | Abstract | |||||||||||
| 内容記述 | This article attempts to clarify the realities of Song Dynasty court music in terms of music history rather than as part of scientific, intellectual, or political history. It focuses on changes to the form of chime bells (bianzhong)—the core court music instrument—discussed in great detail by Northern Song Dynasty bureaucrats, and analyzes their musical significance. Since pre-Qin times, chime bells had a form that featured rows of studs or bosses on the bells’ surface that served to deaden reverberations. Their sides were flattened, and they were hung at an angle. Consequently, the bells had little sustained and in musical performance did not blend in with the other instruments. However, during Northern Song Emperor Renzong’s reign (r. 1022-1063), the official charged with reforming music institutions, Li Zhao, altered the instrument by making bells rounder and hanging them straight down. This changed their sound. The notes now lingered much longer and the sound became one that shrouded those of the other instruments. Two of Li’s successors, Tuan Yi and Hu Yuan, made further alterations of the same sort. They also changed the sizes of the bells. While the sizes of individual bells since pre-Qin times had varied, Tuan and Hu now divided them into two size-based classes and changed individual bell size so they roughly conformed to one or the other class. Some previous research on these instruments has been skeptical about these changes, wondering if they had made the bells impossible to play as musical instruments. However, it is clear from the historical record that—regardless of whether those made by Li or those made by Tuan and Hu are the subject—these changes were made with due consideration given to the bells’ musical function. The true significance of these alterations is that they indicate there was a change in the elements that comprise music, namely rhythm, harmony, and melody; namely, they show that the role of the bell-chimes in the musical performance as a whole had changed. We may surmise that the musical sensibility of people during Song had changed in a way that would have been unacceptable going back to pre-Qin times, and that this was accompanied by a major change in the musical landscape of court music. |
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| 書誌情報 |
東洋学報 en : The Toyo Gakuho 巻 100, 号 3, p. 1-29, 発行日 2018-12 |
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| 出版者 | 東洋文庫 | |||||||||||
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| 収録物識別子タイプ | ISSN | |||||||||||
| 収録物識別子 | 0386-9067 | |||||||||||
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| 収録物識別子タイプ | NCID | |||||||||||
| 収録物識別子 | AN00169858 | |||||||||||
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| 識別子タイプ | NAID | |||||||||||
| 関連識別子 | 40021767829 | |||||||||||
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| 大見出し | 論説 | |||||||||||
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| 大見出し | Articles | |||||||||||
