Musical instrument: jiegu
(羯鼓)
compiled by David Badagnani (rev. 10 April 2021)
Carved limestone relief depicting an apsara musician (Chinese: feitian yueji, 飞天乐伎) playing a jiegu. Probably from one of the caves of the Tianlongshan Grottoes (天龙山石窟), about 36 km southwest of Taiyuan, central Shanxi province, northern China. Northern Dynasties (c. 6th century).
In an effort to make this information more accessible, this document contains resources related to the Chinese musical instrument called jiegu (羯鼓)--a small hourglass-shaped drum with a pottery shell and a crisp timbre--as documented in the Chinese historical record.
Said to originate from the Jie (Chinese: Jie zu, 羯族), a subgroup of the Xiongnu, the jiegu was adopted from Central Asia (particularly Kucha and Sogdiana) in the early Medieval period and became a favorite instrument in the Northern and Southern Dynasties, Sui, Tang, and Five Dynasties periods, used primarily to keep the rhythm in yanyue (banquet music) ensemble performances, especially as performed by ensembles of Central Asian and South Asian origin such as the Qiuci yue (龟兹乐, from the Buddhist oasis kingdom of Kucha in central-western Xinjiang), Tianzhu yue (天竺乐, supposedly from India), Gaochang yue (高昌乐, from the oasis city of Kara-Khoja, near Turpan in eastern Xinjiang), and Shule yue (疏勒乐, from Shule, an Eastern Iranian oasis kingdom in Kashgar, in the Tarim Basin of southwestern Xinjiang), these being four of the ten banquet ensembles of the Tang court, known as the Shi Bu Yue (十部乐) formalized in 642 or 643, during the reign of Emperor Taizong. Numerous noblemen and even emperors of the Tang Dynasty (most notably Emperor Xuanzong and his brother Li Xian) avidly studied and played the jiegu, which was sometimes played while dancing, the instrument slung around the player's neck.
As transmitted to Japan, this instrument is called kakko (羯鼓 or 鞨鼓 / かっこ), and continues to be used in Japan's gagaku tradition.
Links to textual sources are highlighted in green.
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Chinese historical reference works discussing the jiegu
Chinese historical reference works discussing the jiegu
The beautifully painted terracotta shell of a jiegu, excavated in 2000 from the tomb of Li Xian (唐李宪墓), the brother of Emperor Tang Xuanzong, in Sanhe village (三合村), Sanhe township (三合乡), Pucheng County (蒲城县), Weinan (渭南市), eastern Shaanxi province (陕西省), northwest China. Length: 15 3/4 in. (40 cm); maximum diameter: 6.57 in. (16.7 cm); diameter of waist: 2.83 in. (7.2 cm). Li Xian (李宪, 679-742), a prince of the Tang Dynasty, was the eldest son of Ruizong (r. 684-690 and 710-712), who served as the fifth and ninth emperor of the Tang Dynasty. Li Xian was a skilled and avid player of the jiegu and dizi and died during the reign of Emperor Xuanzong. This jiegu may be one that Li Xian enjoyed playing during his life.
● Tongdian 《通典》 (Comprehensive Institutions)
Tongdian, which was written by Tang Dynasty scholar and historian Du You (杜佑, 735-812) between 766 and 801, mentions the jiegu in several sections:
卷第一百四十四
Volume Number 144
樂四
Music, [Section] 4
「羯鼓，正如漆桶，兩頭俱擊。以出羯中，故號羯鼓，亦謂之兩杖鼓。」
● Jiegu Lu 《羯鼓錄》
A book on music in two parts by Nan Zhuo (南卓, fl. 848-850). The first part was completed in 848 and the second in 850. The jiegu is discussed extensively.
A book on music in two parts by Nan Zhuo (南卓, fl. 848-850). The first part was completed in 848 and the second in 850. The jiegu is discussed extensively.
● Yuefu Zalu 《乐府杂录》 (Miscellaneous Notes Regarding the Music Bureau)
A collection of small essays (biji, 笔记) by the Tang scholar Duan Anjie (段安节, fl. 880-898), published around 890 near the end of the Tang Dynasty. This work survives in no fewer than 23 different editions. An extensively annotated German translation was published by Martin Gimm (b. 1930) in 1966. The jiegu is discussed in two sections.
羯鼓
Jiegu
明皇好此伎。有汝陽王花奴，尤善擊鼓。花奴時戴砑絹帽子，上安葵花數曲，曲終花不落，蓋能定頭項爾。黔帥南卓著《羯鼓錄》，中具述其事。咸通中有王文舉，尤妙。弄三杖打撩，萬不失一，懿皇師之。
[Emperor Tang] Minghuang was fond of such performers. Among them was Huanu, the Prince of Ruyang, who was especially good at playing the drum. When Huanu wore a satin dance cap [while playing the jiegu], a sunflower would rest securely on the top [of his head] for several pieces, and [until] the end of the piece the flower wouldn't fall. Guizhou governor Nan Zhuo's Jiegu Lu contains a description of this. [The last two sentences, describing the playing of jiegu players from the 9th century, have not yet been translated.]
● Xin Tang Shu 《新唐书》 (The New Book of Tang; generally translated as "New History of the Tang" or "New Tang History")
This historical work covering the Tang Dynasty, comprising ten volumes and 225 chapters, was compiled by compiled by a team of scholars led by Ouyang Xiu and Song Qi, a process that took 17 years. It was completed in 1060, during the Northern Song Dynasty. It is one of the Twenty-Four Histories (二十四史). The jiegu is discussed in several sections.
卷二十二 志第十二
禮樂十二
「帝又好羯鼓，而寧王善吹橫笛，達官大臣慕之，皆喜言音律。帝常稱：「羯鼓，八音之領袖，諸樂不可方也。」蓋本戎羯之樂，其音太蔟一均，龜茲、高昌、疏勒、天竺部皆用之，其聲焦殺，特異衆樂。」
● Gu Jin Tan Gai 《古今谭概》 (Anecdotes Old and New), also known as Gu Jin Xiao Shi 《古今笑史》, Gu Jin Xiao 《古今笑》, or Tan Gai 《谈概》
First published in 1620, Gu Jin Tan Gai is a collection of anecdotes and short stories, in 36 sections, by the Ming Dynasty novelist Feng Menglong (冯梦龙, 1574-1646). Most of the stories, many of which are of an amusing or grotesque nature, are excerpted from historical records, with a small number created by Feng himself. The work includes a few anecdotes about music, including this section about the jiegu:
Jiegu
明皇好羯鼓，不好聽琴。有奏琴者，弄未畢，上叱去：「速召花奴，取我羯鼓來，為我解穢！」
[Emperor Tang] Minghuang was fond of the jiegu, [but] not fond of the qin. [Once], while a qin player was performing, the piece not yet finished, his lordship shouted out: "Summon Huanu* and fetch me a jiegu, to relieve me of this hideousness!"
* Huanu [literally "Flowery Servant"] was the nickname of Li Jing, officially the Prince of Runan (汝南王李琎), a nobleman who was a fine player of the jiegu.
[Emperor Tang] Minghuang was fond of the jiegu, [but] not fond of the qin. [Once], while a qin player was performing, the piece not yet finished, his lordship shouted out: "Summon Huanu* and fetch me a jiegu, to relieve me of this hideousness!"
* Huanu [literally "Flowery Servant"] was the nickname of Li Jing, officially the Prince of Runan (汝南王李琎), a nobleman who was a fine player of the jiegu.
● Gujin Tushu Jicheng 《古今图书集成》 (Complete Collection of Illustrations and Writings from the Earliest to Current Times), a massive encyclopedia comprising 10,000 volumes, was written during the reigns of the Qing Dynasty emperors Kangxi and Yongzheng. The work, was begun in 1700 and completed in 1725, was supervised initially by Chen Menglei (陈梦雷, 1650-1741), and later by Jiang Tingxi (蒋廷锡, 1669-1732). The jiegu is mentioned as follows:
樂律總部彙考十二
唐二
帝又好羯鼓，而寧王善 吹橫笛，達官大臣慕之，皆喜言音律。帝嘗稱「羯鼓八 音之領裦諸樂，不可方也。」蓋本戎羯之樂，其音太簇 一均，龜茲、高昌、疏勒、天竺部皆用之，其聲焦殺，特異 眾樂。
鼓部纪事二
十月十日天宁节。十二日，宰执、亲王、宗室、百官入内 上寿，大起居。教坊、乐部列于山楼下。有高架大鼓二 面，彩画花地金龙，击鼓人背结宽袖，别套黄窄袖，垂 结带，金裹鼓棒，两手高举互击，宛若流星。后有“羯鼓 两座，如寻常番鼓子，置之小桌子上，两手皆执杖击 之，杖鼓应焉。”
[ ... ]
《梦溪笔谈》：吾闻羯鼓之声云：透空碎远，极异众乐。唐 羯鼓曲，今唯有邠州一父老能之。有《大合蝉》《滴滴泉》 之曲，予在鄜延时尚闻其声。泾原承受公事杨元孙， 因奏事回，有旨令召此人赴阙，元孙至邠而其人已 死，羯鼓遗音遂绝。今乐部中所有，但名存而已，透空 碎远，了无馀迹。唐明皇与李龟年论羯鼓云：“杖之弊 者，四柜，用力如此，其为艺可知也。”
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Chinese poems mentioning the jiegu
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Chinese poems mentioning the jiegu
《再和大庆堂赐宴元珰而有诗呈吴越王》
作者：韩偓（唐、十国 – 閩）
by Han Wo (Tang Dynasty; Ten Kingdoms: Min, c. 842-844-c. 923)
我有嘉宾宴乍欢，画帘纹细凤双盘。
影笼沼沚修篁密，声透笙歌羯鼓乾。
散后便依书箧寐，渴来潜想玉壶寒。
樱桃零落红桃媚，更俟旬馀共醉看。
* * * * * * * * *
《陪华林园试小妓羯鼓》
作者：宋齐丘（五代十国 – 南唐）
by Song Qiqiu (Five Dynasties: Southern Tang Dynasty, 887-959)
切断牙床镂紫金，最宜平稳玉槽深。
因逢淑景开佳宴，为出花奴奏雅音。
掌底轻璁孤鹊噪，枝头乾快乱蝉吟。
开元天子曾如此，今日将军好用心。
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《鸿胪寺有开元中锡宴堂楼台池沼雅为胜绝荒凉遗址仅有存者偶成四十韵》
作者：温庭筠（唐）
by Wen Tingyun (Tang Dynasty, c. 812-c. 866 or 870)
明皇昔御极，神圣垂耿光。
沈机发雷电，逸躅陵尧汤。
西覃积石山，北至穷发乡。
四凶有獬豸，一臂无螳螂。
婵娟得神艳，郁烈闻国香。
紫绦鸣羯鼓，玉管吹霓裳。
禄山未封侯，林甫才为郎。
昭融廓日月，妥帖安纪纲。
群生到寿域，百辟趋明堂。
四海正夷宴，一尘不飞扬。
天子自犹豫，侍臣宜乐康。
轧然阊阖开，赤日生扶桑。
玉砌露盘纡，金壶漏丁当。
剑佩相击触，左右随趋跄。
玄珠十二旒，红粉三千行。
顾盻生羽翼，叱嗟回雪霜。
神霞凌云阁，春水骊山阳。
盘斗九子粽，瓯擎五云浆。
双琼京兆博，七鼓邯郸娼。
毰毸碧鸡斗，茏葱翠雉场。
仗官绣蔽膝，宝马金镂锡。
椒涂隔鹦鹉，柘弹惊鸳鸯。
猗欤华国臣，鬓发俱苍苍。
锡宴得幽致，车从真炜煌。
画鹢照鱼鳖，鸣驺乱甃鶬。
飐滟荡碧波，炫煌迷横塘。
萦盈舞回雪，宛转歌绕梁。
艳带画银络，宝梳金钿筐。
沈冥类汉相，醉倒疑楚狂。
一旦紫微东，胡星森耀芒。
凭陵逐鲸鲵，唐突驱犬羊。
纵火三月赤，战尘千里黄。
殽函与府寺，从此俱荒凉。
兹地乃蔓草，故基摧坏墙。
枯池接断岸，唧唧啼寒螀。
败荷塌作泥，死竹森如枪。
游人问老吏，相对聊感伤。
岂必见麋鹿，然后堪回肠。
幸今遇太平，令节称羽觞。
谁知曲江曲，岁岁栖鸾凰。
* * * * * * * * *
《题开元天宝遗事四首 其一》
Four Poems About the Legacy of the Kaiyuan [and] Tianbao [Periods], no. 1 (Ti Kaiyuan, Tianbao Yishi Si Shou, Qi Yi)
作者：范成大（南宋）
by Fan Chengda (Southern Song Dynasty, 1126-1193)
御前羯鼓透春空，笑觉花奴手未工。
Before the emperor, a jiegu cuts through the spring air;
There is a laugh as he realizes that Huanu's hands are not [suitably] skilled.
一曲打开红杏蕊，须知天子是天公。
As the piece opens, so, too, do red apricot buds,
Making clear that the Son of Heaven is [truly also] the lord of the heavens.
Notes:
Huanu [literally "Flowery Servant"] was the nickname of Li Jing, officially the Prince of Runan (汝南王李琎), a nobleman who was a fine player of the jiegu (hourglass drum).
The setting of this poem is based on a story that is related by Nan Zhuo (南卓, fl. 848-850) in his Jiegu Lu 《羯鼓錄》 (848-850): one day early in the second month, when the rains had cleared, the scenery was bright, and the willow and apricot trees were about to bloom, Tang Xuanzong played the jiegu in the inner courtyard of the small palace, playing "Chun Guang Hao" 《春光好》 (Goodness of the Spring Radiance), a piece of his own composition, producing a feeling of perfect contentment. All of a sudden, those in attendance noticed that the willows and apricot trees had sprung into bloom. Pointing upwards with a smile, the emperor asked, "Does this not mean I am the lord of the heavens?"
In his poem, Fan Chengda embellishes this story, having Huanu start out by playing his jiegu, but without sufficient skill to cause the trees to bloom; the emperor presumably takes over on the drum, his superior abilities having the desired effect.
The story from Jiegu Lu gave rise to two chengyu (4-character idioms): jiegu cui hua (羯鼓催花) and ji gu cui hua (击鼓催花), both of which refer to the supposed power of the jiegu to hasten the blooming of flowers.
Bibliography
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Thanks to David Fang, Lin Chiang-san, and Jeff Loh for assistance with this page.
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Thanks to David Fang, Lin Chiang-san, and Jeff Loh for assistance with this page.
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