Early Chinese Music Resources: Sui and Tang
compiled by David Badagnani (rev. 18 December 2024)
In an effort to make this repertoire more accessible, this document contains resources related to the known surviving pieces and songs from China's Sui Dynasty (隋朝, 581-618) and Tang Dynasty (唐朝, 618-907).
Links to scores are highlighted in blue. Links to recordings and videos are highlighted in pink.
Links to textual sources are highlighted in green.
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Tang-era music preserved in Japan
Following an earlier mission to Sui China in 607, a number of Japanese missions visited China during the Tang Dynasty. Several of these missions--especially those of 630, 653, 701, 717, and 751--were culturally focused (Music from the Tang Court, vol. 6, p. 2).
The most notable of these official Tang-era missions, in terms of music, was the final one: that of 838-841 (during the reign of the Heian emperor Ninmyō), during which the musician and nobleman Fujiwara no Sadatoshi (藤原 貞敏, 807-867) had the opportunity to study pipa music with a senior master in Yangzhou and acquire scores of Tang yanyue (燕乐 or 宴乐, banquet music). (The story of Sadatoshi's further studies with another master in Chang'an appear to have been a fabrication appearing in Japanese sources written long after the fact.) These scores are believed to have been brought back to Japan, providing the foundation for Japan's tradition of Tōgaku (唐楽), court music of Chinese origin. This would be Japan's last mission to China for three centuries.
Aside from the Dunhuang Scores, the available sources for notated Tang-era music, comprising about 160 pieces in total (some of these taking the form of large suites), survive in Japan, in the form of five distinct forms of instrumental tablature: for 1) heng di (横笛) / ryūteki (龍笛), 2) bili / hichiriki (篳篥), 3) sheng / shō (笙), 4) 4-string pipa / biwa (琵琶), and 13-string zheng / koto (筝); although other melodic instruments were formerly also used, such as the shu konghou (angular harp), fangxiang (metallophone), or ruanxian (round-bodied lute), scores for these instruments do not survive to the present day. All music exists in the form of instrumental parts without score, and some pieces survive only in tablature for a single instrument, while others exist in part books for multiple (or all five) melodic instruments. Medieval Japanese sources categorize most such pieces as either "ancient/old music" (古樂 / こがく; kogaku = gu yue) or "new music" (新樂 / しんがく; shingaku = xin yue). While it is not certain, it is possible that the former category comprises pieces created during the Liang (502-587) or Chen (557–589) dynasties (the last two dynasties of the Southern Dynasties period), and that the latter category designates those dating back to the Sui (581-618) or Tang (618-907) dynasties. A few pieces in this repertoire appear to have been composed in Japan in Tang style, adapted from other pieces of Tang origin, or given new or altered titles in Japan.
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Jieshi Diao You Lan
The earliest known complete score of Chinese music is the guqin piece Jieshi Diao You Lan《碣石调幽兰》, written in qin tablature in longhand (wenzipu, 文字谱), in a square calligraphic style typical of the early Tang period on a 4-meter-long scroll that is believed to have been copied by hand in China sometime during the mid-7th century (though the Tokyo National Museum cautiously dates it to between the 7th and 8th century). Musicologist Dr. Zhao Weiping (赵维平) of the Shanghai Conservatory dates the score's copying to approximately 684-714, perhaps during the reign of Wu Zetian (r. 690-705), during the short-lived Zhou Dynasty which interrupted the Tang Dynasty. A National Treasure (Kokuhō, 国宝) of Japan, the scroll comes from the collection of the Jinkō-in Temple (神光院) in Nishigamo (西賀茂), Kita ward (北区), northern Kyoto, and is currently housed at the Tokyo National Museum, the largest art museum in Japan (item no. TB-1393).
Jieshi Diao You Lan is said to have been handed down from a guqin master named Qiu Gong (丘公, c. 493-590), who was born in Kuaiji (会稽, modern-day Shaoxing, Zhejiang) and lived during the Liang (502-587), Chen (557-589), and early Sui (581-618) dynasties.
The most thorough description of this piece in the English language may be found at the website of guqin player and scholar John Thompson:
The most thorough description of this piece in the English language may be found at the website of guqin player and scholar John Thompson:
Original score of Jieshi Diao You Lan: http://emuseum.nich.go.jp/detail?langId=zh&webView=&content_base_id=100229&content_part_id=0&content_pict_id=0
http://www.emuseum.jp/detail/100229/000/000?
John Thompson's transcription of Jieshi Diao You Lan, in staff notation and qinpu:
http://www.silkqin.com/02qnpu/01yl/yltrans01.htm
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The Tempyō Biwa Fu『天平琵琶譜』(Tianping Pipa Pu in Chinese), dated to c. 747 (though the date of c. 738 is sometimes also given), is a single-sheet manuscript in 4-stringed pipa tablature that is preserved at the Shōsōin in Nara, Japan. The oldest surviving example of notated Chinese lute music in Japan, the manuscript, written on the back of a receipt for paper for sutra copying dated 747, preserves a fragment of a brief tuning piece followed by a modal prelude, labeled "Banka-sō"《番假崇》(ばんかそう) ("Fanjia Chong" in Chinese), written in six lines for 4-string pipa with four frets. The musicologist Steven G. Nelson points out that, in this source, the title is crossed out in lighter-colored ink, indicating that this title is probably erroneous.
Original score of the Tempyō Biwa Fu:
https://commons.wikimedia.org/wiki/File:Tempyo_Biwa_Fu.jpg
Video of "Fanjia Chong," played on biwa:
https://www.youtube.com/watch?v=pExQhvAk_dU
Video of "Fanjia Chong," played on biwa:
https://www.youtube.com/watch?v=bChSi1xDyg8
Video of "Fanjia Chong," played on biwa:
https://www.youtube.com/watch?v=P1Je0YKq7ok
Video of "Fanjia Chong":
https://www.bilibili.com/video/BV11Y4y1B7dy
● Solo pipa performance of "Fanjia Chong," performed by Bilibili user He He He He He Zhouzi (鹤鹤鹤鹤鹤洲子) (China, 2022)
https://www.bilibili.com/video/BV1yg411d7AW/
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Fushiminomiya-bon Biwa-fu (Biwa Sho Chōshi Hon and Nangū Biwa-fu)
The Fushiminomiya-bon Biwa-fu『伏見宮本琵琶譜』, sometimes also rendered as『（伏見宮本）琵琶譜』(Fujiangong Ben Pipa Pu in Chinese) is a facsimile scroll, believed to have been written in Japan c. 921-922, and held in the collection of the Library of the Imperial Palace in Tokyo (Kunaichō Shoryōbu, 宮内庁書陵部). The collection, which is in effect a tutor for finger-plucked 4-string pipa with four frets, written in in pipa tablature, comprises two distinct manuscripts:
1) The Biwa Sho Chōshi Hon『琵琶諸調子品』(Pipa Zhu Diaozi Pin in Chinese), comprising a set of brief "tuning-testing" pieces for 27 different tunings, is a copy of a scroll believed to have been given in 838 to the Japanese diplomat and musician Fujiwara no Sadatoshi (藤原貞敏, 807-867) by the Chinese pipa master Lian Chengwu (廉承武) of Yangzhou, then 85 years of age, with whom Fujiwara studied while visiting China during Japan's final mission to Tang China in 838, during the reign of the Tang emperor Wenzong (文宗, r. 827-840). The copy was written in Japan in 921-922 by Prince Sadayasu (Sadayasu Shinnō, 870-924), who added an augmented preface and a few interpolated comments to the body of the text.
● Listing for the copy in the collection of the Cambridge University Library (item no. FH.990.32):
http://www.lib.cam.ac.uk/mulu/00fh990.html
Facsimile of Nangū Biwa-fu and Biwa Sho Chōshi Hon:
https://shoryobu.kunaicho.go.jp/Toshoryo/Viewer/1000717540000/18b8d1668a8b4568960b0871b2bd9696
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Biwa Shochо̄shi-fu
The Biwa Shochо̄shi-fu『琵琶諸調子譜』is an anonymous Sino-Japanese collection of biwa parts for full-ensemble pieces, which is believed to have been completed in the mid-Heian period (c. 920), although its contents (sometimes in slightly modified form) also appear in Sango Yōroku (c. 1179-1192). Because the writing style and paper material used for Biwa Shochо̄shi-fu are very similar to those of the Nangū Biwa-fu (921-922), the scholar Hayashi Kenzō (林 謙三, 1899-1976) believed that the Biwa Shochо̄shi-fu was likely originally part of the Nangū Biwa-fu.
Facsimile of Biwa Shochо̄shi-fu:
https://shoryobu.kunaicho.go.jp/Toshoryo/Viewer/1000717550000/4dc3f5cfc64b4f80b67231ff531c0ee8
Facsimile of Sango Hishō from the website of the National Institute of Japanese Literature (国文学研究資料館) in Tokyo (the list of Tang music pieces starts on p. 108):
Dunhuang Scores
The Dunhuang Scores (Dunhuang Yuepu,《敦煌乐谱》), also known as Dunhuang Qupu《敦煌曲谱》, Dunhuang Juanzipu《敦煌卷子谱》, or Dunhuang Pipa Pu《敦煌琵琶谱》, found in Mogao Cave 17 near Dunhuang in Gansu province, northwest China, comprise 25 pieces in pipa tablature (manuscript P.3808) with instructions for the tablature (manuscript P.3539), plus an additional incomplete piece (manuscript P.3719), all written on the backs of scrolls containing Buddhist texts. These three manuscripts, which were among up to 50,000 manuscripts that had been stored in the cave since it was walled off for unknown reasons early in the 11th century, were taken in 1908 to the Bibliothèque nationale de France in Paris by the French sinoloist Paul Pelliot (1878-1945).
More information about Mogao Cave 17:
Video of "Qing Bei Yue," performed by plucked instrument quartet Red Chamber:
https://www.youtube.com/watch?v=hGCtjK7Nhck
Recording of "Qing Bei Yue," performed by plucked instrument quartet Red Chamber:
https://www.amazon.com/Qing-Bei-Yue/dp/B00B0S0OV6
13. You Man Quzi: Xi Jiang Yue《又慢曲子。西江月》(Another Slow Piece: Moon Over the Western River)
Video of "You Man Quzi: Xi Jiang Yue," performed by a 5-piece ensemble: https://www.youtube.com/watch?v=JI4GJSLJReA
Video of "Shui Guzi," performed by pipa solo:
https://www.youtube.com/watch?v=D_NGAZtH-cs#t=01m04s
Link to the complete manuscript P.3808:
https://tinyurl.com/zohjvvr
These pieces were reconstructed by musicologist Ye Dong (叶栋, 1930-1989) and first published in his Dunhuang Qupu Yanjiu《敦煌曲谱研究》(Research on the Dunhuang Music Scores, 1981).
Manuscript P.3719 contains one incomplete composition:
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Hakuga Fue-fu
The Hakuga Fue-fu『博雅笛譜』, also known as Hakuga no Fue-fu (literally "Hakuga's Fue Scores") or Hakuga Kyō Fue-fu『博雅卿笛譜』, properly known as Shinsen Gaku-fu (Chōshukyō Chiku-fu)『新撰樂譜（長秋卿竹譜）』(literally "Newly Compiled Music Scores (Lord Long Autumn's Bamboo [Flute] Scores)") is an important Sino-Japanese collection of pieces for the fue (笛, transverse flute with seven finger holes, essentially the same instrument as the heng di 横笛 in use in China during the Tang Dynasty). Originally comprising four scrolls, only the fourth now survives.
Commissioned by Emperor Murakami (村上天皇, r. 946-967), the collection, which probably drew on several earlier, now-lost collections of transverse flute scores, was completed in 966, during the Heian period (794-1185), by or under the editorial supervision of the nobleman and gagaku musician Minamoto no Hiromasa (源 博雅, 918-980), also known as Hakuga no Sanmi or Hakuga Sanmi (博雅三位), "Hakuga" being the Sino-Japanese reading of Hiromasa (博雅). It exists in several copies, all dating from the 18th century or later.
Although Laurence Picken earlier proposed that Hakuga had based this work on Nangū no Fue-fu『南宮笛譜』, a transverse flute manuscript that had been prepared in 921 by Prince Sadayasu (Sadayasu Shinnō, 870-924), who is best known for having compiled the pipa tutor Fushiminomiya-bon Biwa-fu『伏見宮本琵琶譜』in 921-922, he later retracted this suggestion following criticism from musicologist Kazuo Fukushima (福島 和夫, b. 1930).
Containing the transverse flute parts for 50 pieces (some items being suites consisting of up to four movements, many played by court ensembles to accompany dance) in flute tablature, this collection, which was prepared for imperial court use, is considered extremely valuable since it is one of the earliest surviving collections of Tang-era scores. Although this collection was prepared during what in China was the early Northern Song Dynasty, the music contained therein had been handed down from Tang times. For several of the pieces whose titles are listed in the table of contents, no notation occurs in the manuscript.
The collection's contents are as follows (note that Japanese print and online sources generally use "楽" in place of 樂):
Pieces in Shuang Diao / Sōjō (雙調 / そうじょう)
1. Liu Hua Yuan《柳花苑》(Japanese: Ryūka-en / りゅうかえん)
2. Chun Ting Yue《春庭樂》(Japanese: Shunteiraku / しゅんていらく)
3. Youji Zuowu / Yuki-sakumotsu or Yuki-sakubutsu?《悠紀作物》
4. Zhu Ji Zuowu / Suki-sakumotsu or Suki no sakubutsu?《主基作物》(すきのつくりもの?)
Pieces in Huangzhong Diao / Ōshiki-chō (黃鐘調) (=黄鐘調) (おうしきちょう)
5. Chi Bai Tao Li Hua《赤白桃李花》(Japanese: Sekihaku Tōrika / せきはくとうりか)
6. Xi Chun Yue《喜春樂》(Japanese: Kishunraku / きしゅんらく) (Joyful Spring Music)
7. Cui Ma Yue《催馬樂》(Japanese: Saibara / さいばら)
8. Chang Sheng Yue《長生樂》(Japanese: Chōseiraku / ちょうせいらく) (Music of Longevity)
9. Xi Wang Yue《西王樂》(Japanese: Sai-ō-raku / さいおうらく)
10. Xia Yin Yue《夏引樂》(Japanese: Ka-in-raku / かいんらく)
11. Jia Ye Jing / Kayōsei?《榎葉井》(えのはい?)
12. Ying Tian Yue《應天樂》(=《応天樂》) (Japanese: Ōtenraku / おうてんらく)
13. Qingshang Yue《清上樂》(Japanese: Seijōraku / せいじょうらく)
14. Gan Cheng Yue《感城樂》(Japanese: Kanjōraku / かんじょうらく or Kanzeiraku / かんぜいらく)
15. An Cheng Yue《安城樂》(Japanese: Anzeiraku / あんぜいらく) (Peaceful City Music)
16. Nong Dian Yue?《弄殿樂》(Japanese: Rōtenraku / ろうてんらく or Rōdenraku / ろうでんらく)
17. He Nan Pu《河南浦》(Japanese: Kananfu / かなんふ)
18. Hai Qing Yue《海青樂》(Japanese: Kaiseiraku / かいせいらく)
19. Yang Gong Yue《央宮樂》(Japanese: Yōgūraku / ようぐうらく) (Central Palace Music)
20. Huangdi Santai《皇帝三臺》(Japanese: Ō-dai-Sandai / おうだいさんだい)
21. San Yin Da Qiu Yue《散吟打球樂》(Japanese: Sangin-tagyūraku / さんぎんたぎゅうらく)
22. Ti Qin Yue《提琴樂》(Japanese: Teikin-raku / ていきんらく) (Taking Up the Qin)
23. Cheng Yan Yue?《承燕樂》(Japanese: Shōenraku / しょうえんらく)
Pieces in Shui Diao / Sui-chō (水調 / すいちょう)
26. Shi Cui Yue《拾翠樂》(Japanese: Jissuiraku / じっすいらく, Jisuiraku / じすいらく) (Gathering Kingfisher Feathers)
● Electronic realization of "Fanjia Chong" by YouTube user 古樂尋蹤_HGofACH (Canada, 2022)
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Fushiminomiya-bon Biwa-fu (Biwa Sho Chōshi Hon and Nangū Biwa-fu)
The Fushiminomiya-bon Biwa-fu『伏見宮本琵琶譜』, sometimes also rendered as『（伏見宮本）琵琶譜』(Fujiangong Ben Pipa Pu in Chinese) is a facsimile scroll, believed to have been written in Japan c. 921-922, and held in the collection of the Library of the Imperial Palace in Tokyo (Kunaichō Shoryōbu, 宮内庁書陵部). The collection, which is in effect a tutor for finger-plucked 4-string pipa with four frets, written in in pipa tablature, comprises two distinct manuscripts:
1) The Biwa Sho Chōshi Hon『琵琶諸調子品』(Pipa Zhu Diaozi Pin in Chinese), comprising a set of brief "tuning-testing" pieces for 27 different tunings, is a copy of a scroll believed to have been given in 838 to the Japanese diplomat and musician Fujiwara no Sadatoshi (藤原貞敏, 807-867) by the Chinese pipa master Lian Chengwu (廉承武) of Yangzhou, then 85 years of age, with whom Fujiwara studied while visiting China during Japan's final mission to Tang China in 838, during the reign of the Tang emperor Wenzong (文宗, r. 827-840). The copy was written in Japan in 921-922 by Prince Sadayasu (Sadayasu Shinnō, 870-924), who added an augmented preface and a few interpolated comments to the body of the text.
The collection's contents are as follows:
1.《壹越調絃合》
2.《壹越上調絃合》
3.《沙陀調》
4.《雙調絃合》
5.《平調絃合》
6.《大食調絃合》
7.《乞食調》
8.《少食調》
9.《道調絃合》
10.《黃鐘調絃合》
11.《大黃鐘調絃合》
12.《水調絃合》
13.《万涉調絃合》
14.《风香調絃合》
15.《返风香調絃合》
16.《仙女調絃合》
17.《林钟調絃合》
18.《清調絃合》
19.《杀孔調絃合》
20.《难調絃合》
21.《仙鹤調絃合》
22.《凤凰調》
23.《鸳鸯調絃合》
24.《南品調絃合》
25.《玉神調絃合》
26.《碧玉調絃合》
27.《啄木調》
2) The Nangū Biwa-fu『南宮琵琶譜』(Nangong Pipa Pu in Chinese), a 25-sheet manuscript containing 13 extended preludes in three mode-keys (Dorian and Mixolydian on A and Dorian on E), was written in Japan in 921-922 by Prince Sadayasu (Sadayasu Shinnō, 870-924) for his pupil Prince Atsumi (Atsumi Shinnō, 敦實親王, 893-967).
2) The Nangū Biwa-fu『南宮琵琶譜』(Nangong Pipa Pu in Chinese), a 25-sheet manuscript containing 13 extended preludes in three mode-keys (Dorian and Mixolydian on A and Dorian on E), was written in Japan in 921-922 by Prince Sadayasu (Sadayasu Shinnō, 870-924) for his pupil Prince Atsumi (Atsumi Shinnō, 敦實親王, 893-967).
The collection's contents are as follows:
1.《风香調 丘泉一手》
2.《同調 丘泉二手》
3.《同調 丘泉三手》
4.《同調 白力相手》
5.《返风香調 丘泉一手》
6.《同調 丘泉二手》
7.《同調 》
8.《同調 》
9.《黃鐘調 律音》
10.《同調 律音》
11.《同調 吕音》
12.《黃鐘調 手弹》
13.《同調 手弹》
风香调合黄钟调
《赤白桃李花》、《喜春乐》、《应天乐》、《河南浦》、《平蛮乐》（返风香调弹）、《海青（仙）乐》（返风香调弹）、《其驹》、《大鸟》。
返风香调合双调
《春庭乐》、《柳花苑》、《春莺啭》、《贺殿》、《鸟（迦陵频）》、《北庭乐》、《酒胡子》、《武德乐》、《陵王破》、《沁（澁）河鸟》。
黄钟调合平调
《三台盐》、《皇麞》、《万岁乐》、《廻忽》、《泔洲》、《五常乐》、《倍胪》、《贺王恩》、《太平乐》、《打球乐》、《轮鼓裈脱》、《长庆子》、《还城乐》、《苏芳菲》、《拔头》。
风香调合盘涉调
《苏合香》、《苏莫者》、《秋风乐》、《鸟向乐》、《轮台》、《青海波》、《採桑老》、《竹林乐》、《白柱》。
● Listing for the copy in the collection of the Cambridge University Library (item no. FH.990.32):
http://www.lib.cam.ac.uk/mulu/00fh990.html
Facsimile of Nangū Biwa-fu and Biwa Sho Chōshi Hon:
https://shoryobu.kunaicho.go.jp/Toshoryo/Viewer/1000717540000/18b8d1668a8b4568960b0871b2bd9696
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Biwa Shochо̄shi-fu
The Biwa Shochо̄shi-fu『琵琶諸調子譜』is an anonymous Sino-Japanese collection of biwa parts for full-ensemble pieces, which is believed to have been completed in the mid-Heian period (c. 920), although its contents (sometimes in slightly modified form) also appear in Sango Yōroku (c. 1179-1192). Because the writing style and paper material used for Biwa Shochо̄shi-fu are very similar to those of the Nangū Biwa-fu (921-922), the scholar Hayashi Kenzō (林 謙三, 1899-1976) believed that the Biwa Shochо̄shi-fu was likely originally part of the Nangū Biwa-fu.
Facsimile of Biwa Shochо̄shi-fu:
https://shoryobu.kunaicho.go.jp/Toshoryo/Viewer/1000717550000/4dc3f5cfc64b4f80b67231ff531c0ee8
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Sango Hishō
Sango Hishō『三五秘抄』is a book by the Japanese flute player Heguri no Hideshige (平群秀茂), which was completed in 928, during the Heian period. It includes a valuable list of "Tang music" pieces which, although it contains no musical notation, nevertheless provides much valuable information, including the mode-key and movement type of a great many pieces in this repertoire.
Facsimile of Sango Hishō from the website of the National Institute of Japanese Literature (国文学研究資料館) in Tokyo (the list of Tang music pieces starts on p. 108):
https://kokusho.nijl.ac.jp/biblio/100295898/108?ln=ja
https://kokusho.nijl.ac.jp/biblio/100295898/108?ln=en
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https://kokusho.nijl.ac.jp/biblio/100295898/108?ln=en
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Dunhuang Scores
The Dunhuang Scores (Dunhuang Yuepu,《敦煌乐谱》), also known as Dunhuang Qupu《敦煌曲谱》, Dunhuang Juanzipu《敦煌卷子谱》, or Dunhuang Pipa Pu《敦煌琵琶谱》, found in Mogao Cave 17 near Dunhuang in Gansu province, northwest China, comprise 25 pieces in pipa tablature (manuscript P.3808) with instructions for the tablature (manuscript P.3539), plus an additional incomplete piece (manuscript P.3719), all written on the backs of scrolls containing Buddhist texts. These three manuscripts, which were among up to 50,000 manuscripts that had been stored in the cave since it was walled off for unknown reasons early in the 11th century, were taken in 1908 to the Bibliothèque nationale de France in Paris by the French sinoloist Paul Pelliot (1878-1945).
More information about Mogao Cave 17:
http://public.dha.ac.cn/content.aspx?id=898738212291
Video about Mogao Cave 17:
Video about Mogao Cave 17:
https://www.youtube.com/watch?v=ABtiYxu0Okw
The pieces in P.3808 are believed to be the pipa parts of ensemble pieces, probably court yanyue (燕乐 or 宴乐, banquet music) pieces. On the front of the manuscript is the text of a Buddhist sermon,《长兴四年中兴殿应圣节讲经文》, with 长兴四年 meaning the fourth year of the Changxing reign of Emperor Li Dan 李亶 of Later Tang 后唐, during the Five Dynasties and Ten Kingdoms period that began following the fall of the Tang Dynasty--that is, 933 AD. Although these pieces were written down in the 10th century (sometime before the founding of the Song Dynasty in 960), many or all of them are likely to have by that time already been old pieces, dating to at least the 8th century (the titles of several of the pieces are listed in Tang palace records).
The titles of the 25 pieces contained in manuscript P.3808 are as follows:
The pieces in P.3808 are believed to be the pipa parts of ensemble pieces, probably court yanyue (燕乐 or 宴乐, banquet music) pieces. On the front of the manuscript is the text of a Buddhist sermon,《长兴四年中兴殿应圣节讲经文》, with 长兴四年 meaning the fourth year of the Changxing reign of Emperor Li Dan 李亶 of Later Tang 后唐, during the Five Dynasties and Ten Kingdoms period that began following the fall of the Tang Dynasty--that is, 933 AD. Although these pieces were written down in the 10th century (sometime before the founding of the Song Dynasty in 960), many or all of them are likely to have by that time already been old pieces, dating to at least the 8th century (the titles of several of the pieces are listed in Tang palace records).
The titles of the 25 pieces contained in manuscript P.3808 are as follows:
1. Pin Nong《品弄》
Video of "Pin Nong," performed by xun and percussion:
https://www.youtube.com/watch?v=pBOKeVsiJho#t=01h24m02s
Video of "Pin Nong," performed by xun and percussion:
https://www.youtube.com/watch?v=pBOKeVsiJho#t=01h24m02s
2. Nong《弄》《{头}弄》
3. Qing Bei Yue《傾盃樂》(Tilted Cup Music)
4. You Man Quzi《又慢曲子》(Another Slow Piece)
5. You Quzi《又曲子》(Another Piece)
6. Ji Quzi《急曲子》(Quick Piece)
7. You Quzi《又曲子》(Another Piece)
8. You Man Quzi《又慢曲子》(Another Slow Piece)
9. Ji Quzi《急曲子》(Quick Piece)
10. You Man Quzi《又慢曲子》(Another Slow Piece)
11. [Untitled] (佚名)
12. Qing Bei Yue《頃盃樂》(Tilted Cup Music)
Video of "Qing Bei Yue," performed by plucked instrument quartet Red Chamber:
https://www.youtube.com/watch?v=gzTfjLA3Wdohttps://www.youtube.com/watch?v=hGCtjK7Nhck
Recording of "Qing Bei Yue," performed by plucked instrument quartet Red Chamber:
https://www.amazon.com/Qing-Bei-Yue/dp/B00B0S0OV6
13. You Man Quzi: Xi Jiang Yue《又慢曲子。西江月》(Another Slow Piece: Moon Over the Western River)
Video of "You Man Quzi: Xi Jiang Yue," performed by a 5-piece ensemble: https://www.youtube.com/watch?v=JI4GJSLJReA
Video of "You Man Quzi: Xi Jiang Yue," performed by guzheng ensemble:
https://www.youtube.com/watch?v=3fZETqin9v8
https://www.youtube.com/watch?v=3fZETqin9v8
Video of "You Man Quzi: Xi Jiang Yue." performed by xun and percussion:
14. You Man Quzi《又慢曲子》(Another Slow Piece)
15. Man Quzi: Xinshizi《慢曲子。心事子》
16. You Man Quzi: Yizhou《又慢曲子。伊州》(Another Slow Piece: Yizhou) (the former name of Hami in eastern Xinjiang)
17. You Ji Quzi《又急曲子》(Another Fast Piece)
18. Shui Guzi《水鼓子》
19. Ji Hu Xiangwen《急胡相问》(Quick "The Barbarian Asks")
20. Changsha Nü Yin《长沙女引》(Prelude: The Lady of Changsha)
Video of "Changsha Nü Yin," performed by an ensemble:
https://www.youtube.com/watch?v=JI4GJSLJReA&t=02m05s Video of "Changsha Nü Yin," performed by an ensemble:
Video of "Changsha Nü Yin," performed by an ensemble:
https://www.youtube.com/watch?v=JI4GJSLJReA&t=02m05s Video of "Changsha Nü Yin," performed by an ensemble:
Video of "Changsha Nü Yin," performed by the Huaxia Ensemble (华夏乐团):
https://www.youtube.com/watch?v=q8GHpF2PAwY
https://www.youtube.com/watch?v=q8GHpF2PAwY
Video of "Changsha Nü Yin," performed by an ensemble:
Video of "Changsha Nü Yin," performed by guzheng ensemble:
https://www.youtube.com/watch?v=3fZETqin9v8
https://www.youtube.com/watch?v=3fZETqin9v8
Video of "Changsha Nü Yin," performed by xun and percussion:
21. [Untitled] (佚名)
22. Sa Jin Sha《撒金沙》(Scattered Golden Sands)
23. Ying Fu《营富》
24. Yizhou《伊州》(the former name of Hami in eastern Xinjiang)
Video of "Yizhou," performed by an ensemble with vocal soloist singing lyrics by Wang Wei:
https://www.youtube.com/watch?v=z3GJOG6T1Lk
Video of "Yizhou," performed by dizi player Zeng Zhaobin (曾昭斌):
https://www.youtube.com/watch?v=-tFfLlZrXzo
https://www.youtube.com/watch?v=-tFfLlZrXzo
Contemporary piece for erhu and orchestra (first movement is based on "Yizhou"):
https://www.youtube.com/watch?v=gAviccTk-gs
25. Shui Guzi《水鼓子》
Video of "Shui Guzi," performed by an ensemble:
https://www.youtube.com/watch?v=z3GJOG6T1Lk&t=02m50s
Video of "Shui Guzi," performed by an ensemble:
https://www.youtube.com/watch?v=D_NGAZtH-cs#t=01m04s
Link to the complete manuscript P.3808:
https://tinyurl.com/zohjvvr
These pieces were reconstructed by musicologist Ye Dong (叶栋, 1930-1989) and first published in his Dunhuang Qupu Yanjiu《敦煌曲谱研究》(Research on the Dunhuang Music Scores, 1981).
Manuscript P.3719 contains one incomplete composition:
1. Huan Xisha《浣溪沙》(Washing by the Stream)
Original score of Huan Xisha《浣溪沙》:
Original score of Huan Xisha《浣溪沙》:
https://www.flickr.com/photos/8442333@N05/31956908926/
The musicologist Chen Yingshi (陈应时, 1933-2020) believed that the rhythm in these pieces is indicated using a system called che pai shuo (掣拍说), which uses two primary symbols: "口" (to indicate initial beats) and "、" (to indicate offbeats), as well as a secondary symbol: "T" (used to extend a note's value). Chen derived his primary evidence for this system from the Northern Song Dynasty source Mengxi Bitan《梦溪笔谈》(Dream Brook Essays) by Shen Kuo (沈括, 1031-1095), and the Southern Song-era source Ci Yuan《词源》(The Origins of Ci Poetry) by Zhang Yan (张炎, 1248-c. 1317 or 1320). The musicologist Steven G. Nelson disputes this, believing that the evidence indicates that the "口" symbol indicates the downbeats of measures, but that the "、" symbol actually specifies an upward (reverse) stroke of the pipa's plectrum (see Nelson, 2012) rather than indicating rhythm.
The musicologist Chen Yingshi (陈应时, 1933-2020) believed that the rhythm in these pieces is indicated using a system called che pai shuo (掣拍说), which uses two primary symbols: "口" (to indicate initial beats) and "、" (to indicate offbeats), as well as a secondary symbol: "T" (used to extend a note's value). Chen derived his primary evidence for this system from the Northern Song Dynasty source Mengxi Bitan《梦溪笔谈》(Dream Brook Essays) by Shen Kuo (沈括, 1031-1095), and the Southern Song-era source Ci Yuan《词源》(The Origins of Ci Poetry) by Zhang Yan (张炎, 1248-c. 1317 or 1320). The musicologist Steven G. Nelson disputes this, believing that the evidence indicates that the "口" symbol indicates the downbeats of measures, but that the "、" symbol actually specifies an upward (reverse) stroke of the pipa's plectrum (see Nelson, 2012) rather than indicating rhythm.
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Hakuga Fue-fu
The Hakuga Fue-fu『博雅笛譜』, also known as Hakuga no Fue-fu (literally "Hakuga's Fue Scores") or Hakuga Kyō Fue-fu『博雅卿笛譜』, properly known as Shinsen Gaku-fu (Chōshukyō Chiku-fu)『新撰樂譜（長秋卿竹譜）』(literally "Newly Compiled Music Scores (Lord Long Autumn's Bamboo [Flute] Scores)") is an important Sino-Japanese collection of pieces for the fue (笛, transverse flute with seven finger holes, essentially the same instrument as the heng di 横笛 in use in China during the Tang Dynasty). Originally comprising four scrolls, only the fourth now survives.
Commissioned by Emperor Murakami (村上天皇, r. 946-967), the collection, which probably drew on several earlier, now-lost collections of transverse flute scores, was completed in 966, during the Heian period (794-1185), by or under the editorial supervision of the nobleman and gagaku musician Minamoto no Hiromasa (源 博雅, 918-980), also known as Hakuga no Sanmi or Hakuga Sanmi (博雅三位), "Hakuga" being the Sino-Japanese reading of Hiromasa (博雅). It exists in several copies, all dating from the 18th century or later.
Although Laurence Picken earlier proposed that Hakuga had based this work on Nangū no Fue-fu『南宮笛譜』, a transverse flute manuscript that had been prepared in 921 by Prince Sadayasu (Sadayasu Shinnō, 870-924), who is best known for having compiled the pipa tutor Fushiminomiya-bon Biwa-fu『伏見宮本琵琶譜』in 921-922, he later retracted this suggestion following criticism from musicologist Kazuo Fukushima (福島 和夫, b. 1930).
Containing the transverse flute parts for 50 pieces (some items being suites consisting of up to four movements, many played by court ensembles to accompany dance) in flute tablature, this collection, which was prepared for imperial court use, is considered extremely valuable since it is one of the earliest surviving collections of Tang-era scores. Although this collection was prepared during what in China was the early Northern Song Dynasty, the music contained therein had been handed down from Tang times. For several of the pieces whose titles are listed in the table of contents, no notation occurs in the manuscript.
The collection's contents are as follows (note that Japanese print and online sources generally use "楽" in place of 樂):
Pieces in Shuang Diao / Sōjō (雙調 / そうじょう)
1. Liu Hua Yuan《柳花苑》(Japanese: Ryūka-en / りゅうかえん)
2. Chun Ting Yue《春庭樂》(Japanese: Shunteiraku / しゅんていらく)
3. Youji Zuowu / Yuki-sakumotsu or Yuki-sakubutsu?《悠紀作物》
4. Zhu Ji Zuowu / Suki-sakumotsu or Suki no sakubutsu?《主基作物》(すきのつくりもの?)
Pieces in Huangzhong Diao / Ōshiki-chō (黃鐘調) (=黄鐘調) (おうしきちょう)
5. Chi Bai Tao Li Hua《赤白桃李花》(Japanese: Sekihaku Tōrika / せきはくとうりか)
6. Xi Chun Yue《喜春樂》(Japanese: Kishunraku / きしゅんらく) (Joyful Spring Music)
7. Cui Ma Yue《催馬樂》(Japanese: Saibara / さいばら)
8. Chang Sheng Yue《長生樂》(Japanese: Chōseiraku / ちょうせいらく) (Music of Longevity)
9. Xi Wang Yue《西王樂》(Japanese: Sai-ō-raku / さいおうらく)
10. Xia Yin Yue《夏引樂》(Japanese: Ka-in-raku / かいんらく)
11. Jia Ye Jing / Kayōsei?《榎葉井》(えのはい?)
12. Ying Tian Yue《應天樂》(=《応天樂》) (Japanese: Ōtenraku / おうてんらく)
13. Qingshang Yue《清上樂》(Japanese: Seijōraku / せいじょうらく)
14. Gan Cheng Yue《感城樂》(Japanese: Kanjōraku / かんじょうらく or Kanzeiraku / かんぜいらく)
15. An Cheng Yue《安城樂》(Japanese: Anzeiraku / あんぜいらく) (Peaceful City Music)
16. Nong Dian Yue?《弄殿樂》(Japanese: Rōtenraku / ろうてんらく or Rōdenraku / ろうでんらく)
17. He Nan Pu《河南浦》(Japanese: Kananfu / かなんふ)
18. Hai Qing Yue《海青樂》(Japanese: Kaiseiraku / かいせいらく)
19. Yang Gong Yue《央宮樂》(Japanese: Yōgūraku / ようぐうらく) (Central Palace Music)
20. Huangdi Santai《皇帝三臺》(Japanese: Ō-dai-Sandai / おうだいさんだい)
21. San Yin Da Qiu Yue《散吟打球樂》(Japanese: Sangin-tagyūraku / さんぎんたぎゅうらく)
22. Ti Qin Yue《提琴樂》(Japanese: Teikin-raku / ていきんらく) (Taking Up the Qin)
23. Cheng Yan Yue?《承燕樂》(Japanese: Shōenraku / しょうえんらく)
Pieces in Shui Diao / Sui-chō (水調 / すいちょう)
24. Fan Long Zhou《汎龍舟》(=《泛龍舟》) (Japanese: Hanryūshū / はんりゅうしゅう or Hanryōshū / はんりょうしゅう) (The Floating Dragon Boat)
25. Jiu Cheng Yue《九城樂》(Japanese: Kyūjōraku / きゅうじょうらく or Kyūseiraku / きゅうせいらく)26. Shi Cui Yue《拾翠樂》(Japanese: Jissuiraku / じっすいらく, Jisuiraku / じすいらく) (Gathering Kingfisher Feathers)
27. Chongguang Yue《重光樂》(Japanese: Jūkōraku / じゅうこうらく)
Pieces in Panshe Diao / Banshiki-chō (盤渉調 / ばんしきちょう)
28. Yuan Ge《元歌》(Japanese: Genka / げんか)
29. Panshe Canjun《盤渉參軍》(Japanese: Banshiki Sangun / ばんしきさんぐん) ("Joining the Army" [in] Panshe [Mode])
30. A Gui Niang《阿媯娘》(Japanese: Agirō / あぎろう)
31. Taicu Jue Panshe Diao Niao Ge Wan Sui Yue《太簇角盤涉調鳥歌萬歲樂》(Japanese: Taisō-kaku Banshiki-chō Chō-ka Manzairaku / たいそうかくばんしきちょうちょうかまんざいらく)
32. Su He Xiang《蘇合香》(Japanese: Sogōkō / そごうこう) (Liquidambar Incense)
33. Wan Qiu Yue《萬秋樂》(Japanese: Manjūraku / まんじゅうらく) (Music of Ten Thousand Autumns)
34. Chong Ming Yue《崇明樂》(Japanese: Sōmeiraku / そうめいらく)
35. Sumozhe《苏莫者》(Japanese: Somakusha / そまくしゃ)
36. Jian Qi Hui Tuo《剑气禈脱》(Japanese: Kenki-Kodatsu / けんきこだつ or Kenki-kotatsu / けんきこたつ)
37. Qiu Feng Yue《秋風樂》(Japanese: Shūfūraku / しゅうふうらく) (Autumn Wind Music)
38. Niao Xiang Yue《鳥向樂》(Japanese: Chōkōraku / ちょうこうらく)
39. Luntai《輪臺》(Japanese: Rindai / りんだい)
40. Qinghai Bo《青海波》(Japanese: Seigaiha / せいがいは) (The Waves of Kokonor)
41. Cai Sang Lao《採桑老》(Japanese: Saishōrō / さいしょうろう or Saisōrō / さいそうろう)
42. Zhu Lin Yue《竹林樂》(Japanese: Chikurinraku / ちくりんらく) (Bamboo Grove Music)
43. Bai Zhu《白柱》(Japanese: Hakuchū / はくちゅう) (The White Pillar)
44. Cheng Qiu Yue《承秋樂》(Japanese: Shōshūraku / しょうしゅうらく)
45. Gan Qiu Yue《感秋樂》(Japanese: Kanshūraku / かんしゅうらく) (Moved by Autumn Music)
46. De Ban Zi《徳伴字》
Pieces in Panshe Diao / Banshiki-chō (盤渉調 / ばんしきちょう)
28. Yuan Ge《元歌》(Japanese: Genka / げんか)
29. Panshe Canjun《盤渉參軍》(Japanese: Banshiki Sangun / ばんしきさんぐん) ("Joining the Army" [in] Panshe [Mode])
30. A Gui Niang《阿媯娘》(Japanese: Agirō / あぎろう)
31. Taicu Jue Panshe Diao Niao Ge Wan Sui Yue《太簇角盤涉調鳥歌萬歲樂》(Japanese: Taisō-kaku Banshiki-chō Chō-ka Manzairaku / たいそうかくばんしきちょうちょうかまんざいらく)
32. Su He Xiang《蘇合香》(Japanese: Sogōkō / そごうこう) (Liquidambar Incense)
33. Wan Qiu Yue《萬秋樂》(Japanese: Manjūraku / まんじゅうらく) (Music of Ten Thousand Autumns)
34. Chong Ming Yue《崇明樂》(Japanese: Sōmeiraku / そうめいらく)
35. Sumozhe《苏莫者》(Japanese: Somakusha / そまくしゃ)
36. Jian Qi Hui Tuo《剑气禈脱》(Japanese: Kenki-Kodatsu / けんきこだつ or Kenki-kotatsu / けんきこたつ)
37. Qiu Feng Yue《秋風樂》(Japanese: Shūfūraku / しゅうふうらく) (Autumn Wind Music)
38. Niao Xiang Yue《鳥向樂》(Japanese: Chōkōraku / ちょうこうらく)
39. Luntai《輪臺》(Japanese: Rindai / りんだい)
40. Qinghai Bo《青海波》(Japanese: Seigaiha / せいがいは) (The Waves of Kokonor)
41. Cai Sang Lao《採桑老》(Japanese: Saishōrō / さいしょうろう or Saisōrō / さいそうろう)
42. Zhu Lin Yue《竹林樂》(Japanese: Chikurinraku / ちくりんらく) (Bamboo Grove Music)
43. Bai Zhu《白柱》(Japanese: Hakuchū / はくちゅう) (The White Pillar)
44. Cheng Qiu Yue《承秋樂》(Japanese: Shōshūraku / しょうしゅうらく)
45. Gan Qiu Yue《感秋樂》(Japanese: Kanshūraku / かんしゅうらく) (Moved by Autumn Music)
46. De Ban Zi《徳伴字》
(=《德伴字》) (Japanese: Tokubanji / とくばんじ?) (The Virtuous Companion)
47. You Zi Nü《遊字女》(possibly a corruption of《遊兒女》) (Japanese: ? / ?)
Pieces in Jiao Diao / Kaku-chō (角調 / かくちょう)
48. Cao Niang Kun Tuo《曹娘褌脱》(Japanese: Sōrō-kodatsu / そうろうこだつ or Sōrō-kotatsu / そうろうこたつ?)
49. Xin Yue Luan Sheng《新樂亂聲》(Japanese: Shingaku-ranjō / しんがくらんじょう)
50. Linyi Luan Sheng《林邑亂聲》(Japanese: Rinyū-ranjō / りん ゆうらんじょう)
An early Edo period facsimile of Shinsen Gaku-fu from the rare books collection of the Toyama City Public Library (富山市立図書館), on the website of the National Institute of Japanese Literature (国文学研究資料館) in Tokyo: http://kotenseki.nijl.ac.jp/biblio/100262586/viewer/1
An early Edo period facsimile of Shinsen Gaku-fu from the rare books collection of the Toyama City Public Library (富山市立図書館), on the website of the Toyama City Public Library: https://www.library.toyama.toyama.jp/wo/rare_book/index?rare_book_list_flg=1&page=11&lines=10&value_id=3828
Transcriptions in staff notation of 39 pieces from this collection, in mode-keys corresponding to Mixolydian, Aeolian, and Dorian in several transpositions, are published in Allan Marett's "Tunes Notated in Flute-Tablature from a Japanese Source of the Tenth Century" (Musica Asiatica, vol. 1 (1977), pp. 1-59):
https://www.amazon.com/dp/0193232340/
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Gogen Fu
The Wuxian Pipa Scores (Wuxian Qin Pu《五弦琴谱》or Wuxian Pu《五弦谱》), usually called Gogen Fu『五絃譜』or Gogen Kinfu『五絃琴譜』(ごげんきんぷ) in Japanese, preserved in the Yōmei Bunko in Kyoto, Japan, comprise 28 pieces believed to be of Tang Chinese origin, in tablature for the 5-string (wuxian) pipa. The manuscript itself simply bears the title《五絃》(Wuxian/Gogen). Individual pieces in the collection bear the dates 773 and 842 and the music is believed to be of Tang Chinese origin, though the manuscript, which was probably copied in the 11th century during the mid-Heian period, appears to be in a Japanese hand.
The collection's contents are as follows (note that Japanese print and online sources generally use "楽" in place of 樂):
Minamoto no Tsunenobu-hitsu Biwa-fu
Minamoto no Tsunenobu-hitsu Biwa-fu『源経信筆琵琶譜』is a collection of Tang-era scores in tablature for the biwa (essentially the same 4-fret instrument as the bent-neck pipa (曲項琵琶) in use in China during the Tang Dynasty), dating to the 11th century and compiled by the nobleman Minamoto no Tsunenobu (源経信 / みなもとのつねのぶ, 1016-1097) c. 1163?.
Kaichū-fu
Kaichū-fu『懐中譜』is a collection of Tang-era scores in tablature for transverse flute, in three volumes, dating to c. 1095 and compiled by Oga no Koresue (大神惟季 / おおがの これすえ, 1026-1094).
Sango Yōroku
Sango Yōroku『三五要録』(Sanwu Yaolu,《三五要录》in Chinese), a Sino-Japanese source comprising twelve scrolls (maki, 巻) compiled by the Japanese nobleman Fujiwara no Moronaga (藤原師長, 1138-1192), likely between 1179 and 1192 during the late Heian period (794-1185), is the most important and extensive collection of Tang-era scores for the biwa (essentially the same 4-fret instrument as the bent-neck pipa 曲項琵琶 in use in China during the Tang Dynasty). Although this collection, which contains 108 compositions in biwa tablature, was prepared during what in China was the Southern Song Dynasty (1127-1279), the music contained therein had been handed down from Tang times.
In 1230, another Japanese nobleman named Fujiwara no Takatoki (藤原孝時, 1189 or 1190‐1266) prepared a biwa compilation whose contents are based on Sango Yōroku, called Sango Chūroku『三五中錄』.
The collection's contents are as follows, with page numbers referring to the online facsimile edition from the website of the National Institute of Japanese Literature (国文学研究資料館) in Tokyo (note that Japanese print and online sources generally use "楽" in place of 樂):
Jinchi Yōroku
Jinchi Yōroku『仁智要録』(Renzhi Yaolu,《仁智要录》in Chinese), another Sino-Japanese source compiled by the Japanese nobleman Fujiwara no Moronaga (藤原師長, 1138-1192), likely between 1179 and 1192 during the late Heian period (794-1185) and containing more than 200 pieces in koto tablature, is the most important and extensive collection of Tang-era scores for the 13-string koto, also called sō no koto (essentially the same instrument as the zheng 筝 in use in China during the Tang Dynasty). Although this collection was prepared during what in China was the Southern Song Dynasty (1127-1279), the music contained therein had been handed down from Tang times.
The collection's contents are as follows, with page numbers referring to the facsimile edition on the website of the National Institute of Japanese Literature (国文学研究資料館) in Tokyo (note that Japanese print and online sources generally use "楽" in place of 樂):
Facsimile of Jinchi Yōroku, from the website of Kansai University Open Research Center for Asian Studies (includes part 12):
Page from the Shanghai Conservatory's website:
http://ceanotation.www.shcmusic.edu.cn/strongly/book.jsp?id=47&name=%E4%BB%81%E6%99%BA%E8%A6%81%E5%BD%95
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Ko-fu-Ryoritsu-no-Maki 『古譜呂律巻』, also called Hōshō-fu 『鳳笙譜』, is a collection of Tang-era scores in tablature for mouth organ, dating to 1201 and compiled by Toyohara no Toshiaki (豊原利秋, 1155 or 1162-1212).
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Shinsen Shōteki-fu
The Shinsen Shōteki-fu『新撰笙笛譜』(literally "Newly Compiled Shō Scores"; Xin Zhuan Shengdi Pu in Chinese) is a Japanese scroll dating to 1302 or 1303, during the Kamakura period, compiled by someone named Raiin 頼胤, who is presumed to have been a Buddhist priest. It contains Tang pieces in shō tablature (the term shōteki 笙笛 referring to the shō mouth organ).
Chū Ōga Ryūteki Yōroku-fu『註大家龍笛要録譜』, also known as Ōga Kagemitsu no Ryūteki, is a Japanese scroll compiled by Yamanoi no Kagemitsu (山井景光, 1273-1353 or 1354) and containing Tang pieces in transverse flute tablature. Its date of compilation has been variously assigned to 1316, c. 1320, and c. 1330, during the late Kamakura period, and it survives in many copies.
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Biwa-fu
The Biwa-fu『琵琶譜』(literally "Biwa Scores"; Pipa Pu in Chinese) is a Japanese scroll dated 1566, containing Tang pieces in biwa tablature. It has been transcribed and published by Rembrandt Wolpert (1981).
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Rosei Yōroku『蘆聲要録』(ろせいようろく) is an undated collection of scores in tablature for hichiriki, dating to the 17th century (perhaps 1661) and compiled by Ōno Tadakata (多忠賢, 1625-1685 or 1686).
Kaichū-fu
Kaichū-fu『懐中譜』is a collection of Tang-era scores in tablature for the hichiriki, in three volumes, dating to the Edo period. It was authored by Uzumasa Kanenobu (太秦兼陳, 1673-1754), also known as Togi Kanenobu (東儀兼陳), who held the official title 従四位下内匠頭 (Junior 4th rank, Head of the Takumi 内匠 Department), and completed in the ninth month of the third year of the Kyōhō period (享保三戌九月), or 1718.
● Yiwen Leiju《艺文类聚》
http://www.guoxue123.com/shibu/0101/00suisf/082.htm
Historical reference works about the music of the Tang Dynasty
Tang-era musical reference works (none of which contain musical notation, though most include lists of tune titles) include the following:
● Tongdian《通典》(Comprehensive Institutions)
Written by Tang scholar and historian Du You (杜佑, 735-812) between 766 and 801, Tongdian discusses music in its fifth section.
https://zh.wikisource.org/wiki/%E9%80%9A%E5%85%B8#.E6.A8.82.E5.85.B8
http://www.guoxue123.com/shibu/0101/01tdf/index.htm
http://www.guoxue123.com/shibu/0101/01tdf/079.htm
http://www.guoxue123.com/shibu/0101/01tdf/086.htm
http://www.guoxue123.com/shibu/0101/01tdf/141.htm
http://www.guoxue123.com/shibu/0101/01tdf/147.htm
http://www.guoxue123.com/Shibu/0101/01tdf/193.htm
● 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.
https://zh.wikisource.org/zh/%E7%BE%AF%E9%BC%93%E9%8C%84
● Youyang Zazu《酉阳杂俎》(Miscellaneous Morsels from Youyang) A 30-volume book compiled c. 843-853 by Duan Chengshi (段成式, c. 803-863), a naturalist, poet, and official from Shandong province. It focuses on miscellany of Chinese and foreign legends and hearsay, reports on natural phenomena, short anecdotes, and tales of the wondrous and mundane, as well as notes on such topics as medicinal herbs and tattoos. The work includes a section on music in its sixth volume, and music-making and musical instruments are also mentioned in several other volumes.
47. You Zi Nü《遊字女》(possibly a corruption of《遊兒女》) (Japanese: ? / ?)
Pieces in Jiao Diao / Kaku-chō (角調 / かくちょう)
48. Cao Niang Kun Tuo《曹娘褌脱》(Japanese: Sōrō-kodatsu / そうろうこだつ or Sōrō-kotatsu / そうろうこたつ?)
49. Xin Yue Luan Sheng《新樂亂聲》(Japanese: Shingaku-ranjō / しんがくらんじょう)
50. Linyi Luan Sheng《林邑亂聲》(Japanese: Rinyū-ranjō / りん ゆうらんじょう)
An early Edo period facsimile of Shinsen Gaku-fu from the rare books collection of the Toyama City Public Library (富山市立図書館), on the website of the National Institute of Japanese Literature (国文学研究資料館) in Tokyo: http://kotenseki.nijl.ac.jp/biblio/100262586/viewer/1
An early Edo period facsimile of Shinsen Gaku-fu from the rare books collection of the Toyama City Public Library (富山市立図書館), on the website of the Toyama City Public Library: https://www.library.toyama.toyama.jp/wo/rare_book/index?rare_book_list_flg=1&page=11&lines=10&value_id=3828
Transcriptions in staff notation of 39 pieces from this collection, in mode-keys corresponding to Mixolydian, Aeolian, and Dorian in several transpositions, are published in Allan Marett's "Tunes Notated in Flute-Tablature from a Japanese Source of the Tenth Century" (Musica Asiatica, vol. 1 (1977), pp. 1-59):
https://www.amazon.com/dp/0193232340/
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Gogen Fu
The Wuxian Pipa Scores (Wuxian Qin Pu《五弦琴谱》or Wuxian Pu《五弦谱》), usually called Gogen Fu『五絃譜』or Gogen Kinfu『五絃琴譜』(ごげんきんぷ) in Japanese, preserved in the Yōmei Bunko in Kyoto, Japan, comprise 28 pieces believed to be of Tang Chinese origin, in tablature for the 5-string (wuxian) pipa. The manuscript itself simply bears the title《五絃》(Wuxian/Gogen). Individual pieces in the collection bear the dates 773 and 842 and the music is believed to be of Tang Chinese origin, though the manuscript, which was probably copied in the 11th century during the mid-Heian period, appears to be in a Japanese hand.
The collection's contents are as follows (note that Japanese print and online sources generally use "楽" in place of 樂):
1. Yue Diao《越調》(Japanese: Kotsu-chō / こつちょう) (modal prelude)
2. Suluomi《蘓羅密》(=《蘇羅密》) (Japanese: Soramitsu / そらみつ)
3. Hu Yong Ci《胡詠詞》(Japanese: Koeishi / こえいし)
4. Huangzhong Diao / Ōshiki-chō《黃鐘調》(=《黄鐘調》) (おうしきちょう) (modal prelude)
5. Biqi'er《弊𢍆儿》(=《弊契儿》) (Japanese: Heikeiji / ?)
7. Dashi Diao (1)《大食調（一）》(Japanese: Taishiki-chō / たいしきちょう) (modal prelude)
8. Dashi Diao (2)《大食調（二）》(Japanese: Taishiki-chō / たいしきちょう) (modal prelude)
9. Qin Wang Po Zhen Yue《秦王破陣樂》(Japanese: Jinnō hajin-raku / じんのうはじんらく or Shinnō hajin-raku / しんのうはじんらく) (The Emperor of Qin Breaks the Formations)
Transcription of "Qin Wang Po Zhen Yue" by Rembrandt Wolpert:
https://www.dropbox.com/s/qkydf4ze7obyyml/Qin%20Wang%20Pozhen%20Yue%20from%20Wuxian%20Pu-transcribed%20by%20Rembrandt%20Wolpert.jpg?dl=0
10. Wang Zhaojun《王昭君》(Japanese: Ōshōkun / おう しょうくん)
13. Ruyi Niang《如意娘》(Japanese: Nyoirō / にょいろう)
14. Panshe Diao《盤渉調》(Japanese: Banshiki-chō / ばんしきちょう) (modal prelude)
15. Chong Ming Yue《崇明樂》(Japanese: Sōmeiraku / そうめいらく)
17. Ping Diaozi《平調子》(Japanese: ? / ?) (modal prelude)
18. Ping Diao Huofeng《平調火鳳》(Japanese: Hyōjō Kahō / ひょうじょうかほう)
19. Yidu Shi《移都師》(Japanese: Itoshi / いつし?)
20. Tian Chang Jiu / Tenchōkyū《天長久》(てんちょうきゅう)
21. Liu Hu Zhou / Rikkoshū or Rokkoshū?《六胡州》(ろっこしゅう or りこしゅう?)
23. He Man Zi《何滿子》(Japanese: Kamanshi / かまんし)
24. Santai《三䑓》(Japanese: Sandai / さんだい) (Three Terraces)
Facsimile and transcriptions of the pieces in the Wuxian Pipa Scores:
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Giyōden Chiku-fu
Giyōden Chiku-fu『宜陽殿竹譜』(ぎようでんちくふ) is a collection of Tang-era scores in tablature for mouth organ. Based on the colophon appearing on page 150, this collection was compiled in the sixth month of the third year of Jiryaku (治曆三年六月), or the year 1067, and its author was supposedly Ō no Kenmotsu Yoriyoshi (王監物賴吉), a well-known flute player of the Heian period. However, a recent study of this source, conducted in Japan in 2016, concluded that the colophon was actually a forgery and that this collection was actually compiled during the early Edo period (17th century). The original Giyōden chiku-fu was actually a collection of flute scores, compiled by Wanibe no Ōtamaro (和邇部大田麿, a flutist active in the 9th century, during the early Heian period), which was formerly stored in the Giyōden storehouse (宜陽殿) at the imperial court in Kyoto, but which was lost to fire some time before the 13th century. According to musicologist Steven G. Nelson, it seems clear that the person responsible for the forgery in the mouth organ collection was quite aware of this.
Steven G. Nelson shares the following additional information:
"The first colophon (about the purported source) is written very clearly so as to make any misunderstanding impossible. The second colophon (on the recto of the following folio, which gives the date 1827 [文政十年十一月三日] for the copying of the present copy) is much harder to read. I think that they were both written by the same person, who also copied the notation. It purports to be a copy of a copy, made in 1067 by Ō no Kenmotsu Yoriyoshi, of the original manuscript of Giyōden Chiku-fu, but of course it is no such thing. As for when the forgery was made, at the moment I cannot offer anything more precise than 'some time in the Edo period before the 3rd day of the 11th month of 1827', the date of the second colophon." The early Edo period (17th century) date that I am surmising is based on the order of the modes, content (repertoire), and notational style of the mouth organ scores. The forgery could have been made any time between the original date of the mouth organ score, and the 1827 copying. It may even have been made by the person who wrote the whole thing in 1827. Unfortunately I do not know who it was. There is nothing in the source to fill in the gap between the clear fabrication about the year 1067, and the final copying date of 1827. This leads me to suspect very strongly that the writer of this 1827 score just copied any old mouth organ score he had at hand that seemed to have some old repertoire in it, and tried to pass it off as the Giyōden flute score, omitting any true information about the collection of mouth organ notation that he used. It may be possible to work out what collection of mouthorgan notation he used by comparing it with other extant collections. And there's nothing particularly old about the mouth organ notation to recommend giving it precedence over other collections.
Thanks to Keith Wong and Steven G. Nelson for sharing the above information.
The collection's contents are as follows (note that Japanese print and online sources generally use "楽" in place of 樂):
Pieces in Yiyue Diao / Ichikotsu-chō (壹越調) (=壱越調) (=一越調) (いちこつちょう)
1. Diaozi《調子》(Japanese: Chōshi / ちょうし) (modal prelude) - p. 4
2. Huangdi Po Zhen Yue《皇帝破陣樂》(Japanese: Ō-dai hajin-raku / おうだいはじんらく) (The Emperor Destroys the Formations) - p. 8
3. Tuanluanxuan《團乱旋》(=《團亂旋》) (Japanese: Toraden / とらでん) (The Whirl-Around) - p. 15
4. Chunying Zhuan《春鶯囀》(Japanese: Shunnō-den / しゅんのうてん) (The Spring Warbler's Song) - p. 19
5. Luoling Wang《羅陵王》(Japanese: Raryō‐ō / しんらりょうおう) - p. 23
6. Yushu Hou Ting Hua《玉樹後庭花》(Japanese: Gyokuju gotei-ka / ぎょくじゅごていか or Gyokuju kōtei-ka / ぎょくじゅこうていか) (A Jade Tree's Rear-Court Blossom) - p. 24
8. Beiting Yue《北庭樂》(Japanese: Hokuteiraku / ほくていらく) - p. 27
10. Hu Yin Jiu《胡飲酒》(Japanese: Konju / こんじゅ, Koinju / こいんじゅ, Koinzu / こいんず, Konzu / こんず, or Kōnju / こおんじゅ) (Sogdians Drinking Wine) - p. 28
12. Yi Nong Yue《壹弄樂》(Japanese: Ichirōraku / いちろうらく) - p. 30
14. Yi Jin Yue《溢金樂》(Japanese: Ikinraku / いきんらく) - p. 32
15. Zhao Ying Yue《詔應樂》(=《韶応樂》) (Japanese: Shō-ō-raku / しょうおうらく) - p. 32
16. Hui ? Yue《廽坏樂》(=《廻坏樂》, =《廻杯樂》) (Japanese: Kaibairaku / かいばいらく) - p. 33
18. ? - p. 34
19. ? - p. 34
21. Yi De Yan《壹德塩》(=《壹德鹽》) (Japanese: Ittoku-en / いっとくえん) - p. 36
22. Pusa《菩薩》(Japanese: Bosatsu / ぼさつ) - p. 37
25. Xin Luoling Wang《新羅陵王》(Japanese: Shinraryō‐ō / しんらりょうおう) - p. 38
Pieces in Shuang Diao / Sōjō (雙調 / そうじょう)
26. Diaozi《調子》(Japanese: Chōshi / ちょうし) (modal prelude) - p. 40
26. Chun Ting Yue《春庭樂》(Japanese: Shunteiraku / しゅんていらく) - p. 43
28. Hedian Po《賀殿破》(Japanese: Katen Ha / かてんは) - p. 46
29. ? - p. 47
30. ? - p. 49
31. Beiting Yue《北庭樂》(Japanese: Hokuteiraku / ほくていらく) - p. 50
32. Hu Yin Jiu《胡飲酒》(Japanese: Konju / こんじゅ, Koinju / こいんじゅ, Koinzu / こいんず, Konzu / こんず, or Kōnju / こおんじゅ) (Sogdians Drinking Wine) - p. 51
35. Xin Luoling Wang: Ji《新羅陵王急》(Japanese: Shinraryō‐ō: Kyū / しんらりょうおうきゅう) - p. 52
36. Hui ? Yue《廽坏樂》(=《廻坏樂》, =《廻杯樂》) (Japanese: Kaibairaku / かいばいらく) - p. 53
37. Dijiu: Ji《地久急》(Japanese: Chikyū: Kyū / ちきゅうきゅう) (The World is Lasting: Quick) - p. 53
Pieces in Ping Diao / Hyōjō (平調 / ひょうじょう)
38. Diaozi《調子》(Japanese: Chōshi / ちょうし) (modal prelude) - p. 59
39. Santai Yan《三臺塩》(Japanese: Sandai-en / さんだいえん) - p. 63
42. Guo Tou Yue《褁頭樂》(=《裹頭樂》) (Japanese: Katōraku / かとうらく) - p. 67
43. Qing Yun Yue《慶雲樂》(Japanese: Kyōunraku / きょううんらく) (Auspicious Clouds Music) - p. 67
47. Hui Hu《囬忽》(=《廻忽》) (Japanese: Kaikotsu / かい こつ) - p. 72
48. Peilu / Beilu《陪臚》(Japanese: Bairo / ばいろ) (Bhairava) - p. 72
50. Funan《府南》(=《扶南》) (Japanese: Funan / ふなん) - p. 73
54. ? - p. 76
55. Xiao Niangzi《小娘子》(Japanese: Korōji / ころうじ) - p. 77
59. Lin Ge《林歌》(=《林歌》) (Japanese: Ringa / りんが) - p. 78
Pieces in Panshe Diao / Banshiki-chō (盤渉調 / ばんしきちょう)
60. Diaozi《調子》(Japanese: Chōshi / ちょうし) (modal prelude) - p. 80
61. Yinqu《音取》(Japanese: Netori / ねとり) - p. 85
65. Luntai《輪䑓》(=《輪臺》) (Japanese: Rindai / りんだい) - p. 97
68. Chong Ming Yue《宗明樂》(=《崇明樂》) (Japanese: Sōmeiraku / そうめいらく) - p. 99
74. ? - p. 103
76. You Zi Nü《遊字女》(possibly a corruption of《遊兒女》(Japanese: ? / ?) - p. 104
Pieces in Huangzhong Diao / Ōshiki-chō (黃鐘調) (=黄鐘調) (おうしきちょう)
77. Diaozi《調子》(Japanese: Chōshi / ちょうし) (modal prelude) - p. 110
80. Fan Long Zhou《泛龍舟》(=《汎龍舟》) (Japanese: Hanryūshū / はんりゅうしゅう or Hanryōshū / はんりょうしゅう) (The Floating Dragon Boat) - p. 120
81. San Yin Da Qiu Yue《散吟打毬樂》(Japanese: Sangin-chōgyūraku? / さんぎんちょうぎゅうらく) (=《散金打毬樂》, Sankin-chōgyūraku? / さんきんちょうぎゅうらく?) - p. 121
89. Ping Man Yue / Heibanraku《平蠻樂》(へいばんらく) - p. 127
90. Hai Qing Yue《海青樂》(Japanese: Kaiseiraku / かいせいらく) - p. 128
91. Shi Cui Yue: Ji《拾翠樂急》(Japanese: Jissuiraku (no) Kyū / じっすいらく（の）きゅう, Jisuiraku (no) Kyū / じすいらく（の）きゅう) (Gathering Kingfisher Feathers) - p. 128
93. ? - p. 129
94. ? - p. 130
Pieces in Dashi Diao / Taishiki-chō (大食調) (=太食調) (たいしきちょう)
95. Diaozi《調子》(Japanese: Chōshi / ちょうし) (modal prelude) - p. 131
96. Yinqu《音取》(Japanese: Netori / ねとり) - p. 134
97. Qin Wang Po Zhen Yue《秦王破陣樂》(Japanese: Jinnō hajin-raku / じんのうはじんらく or Shinnō hajin-raku / しんのうはじんらく) (The Emperor of Qin Breaks the Formations) - p. 134
103. Huan Cheng Yue《還城樂》(Japanese: Genjōraku / げんじょうらく) - p. 143
106. Lun Gu Kun Tuo《輪鼓褌脱》(Japanese: Rinko-kodatsu / りんここだつ or or Rinko-kotatsu / りんここたつ) - p. 146
107. Su Fangfei《蘇芳菲》(Japanese: Sohōhi / そほうひ) - p. 147
108. Xian You Xia《仙遊霞》(Japanese: Sen'yūga / せんゆうが) - p. 148
109. Shuren Santai《庶人三臺》(Japanese: Shonin-sandai / しょにんさんだい or Sonin-sandai / そにんさんだい) - p. 148
110. Chang Qing Zi《長慶子》(Japanese: Chōgeishi / ちょうげいし or Chōkeishi / ちょうけいし) - p. 149
Facsimile of Giyōden Chiku-fu from the website of the Union Catalogue Database of Japanese Texts (国書データベース)
More information:
https://heiangakusha.jpn.org/gagakukenkyu.htm
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The collection's contents are as follows:
返风香调
《一手》、《 手》、《三手》、《四手》、《五手》、《上原石上流泉》。
黄钟调
《一手》、《二手》。
返黄钟调
《 》。
风香调
《一手》、《 手》。
风香调
《一手》、《三手》、《四手》。
双调
《 》、《拨合》。
清调
《拨合》。
风香调
《河南浦》、《散吟打球乐（泛龙舟急之）》、《拾翠乐》、《海青乐》。
返风调
《沁河鸟》、《河曲子》、《十天乐》、《新罗陵王》。
黄钟调
《倍胪》、《想夫恋》、《贺王恩（返黄钟调）》、《勇胜》、《长命女儿》、《苏芳菲》、《仙游霞》、《散手序》。
风香调
《万秋乐》、《赤白桃李花》。
More information:
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Kaichū-fu
Kaichū-fu『懐中譜』is a collection of Tang-era scores in tablature for transverse flute, in three volumes, dating to c. 1095 and compiled by Oga no Koresue (大神惟季 / おおがの これすえ, 1026-1094).
The collection's contents are as follows:
一越调
《音取》、《品玄》、《入调》、《上调子》、《皇帝破阵乐》、《团乱旋》、《春莺啭》、《玉树后庭花》、《贺殿》。
沙陀调
《狮子》、《陵王》、《大菩萨》、《小菩萨》、《新罗陵王》。
平调
《音取》、《品玄》、《入调》、《临调子》、《万岁乐》、《皇麞》、《王昭君》、《回忽》、《春杨柳》、《勇胜》、《甘州》、《偈颂》、《倍胪》。
太食调
《音取》、《品玄》、《上调子》、《轮鼓裈脱》、《仙游霞》、《苏芳菲》、《秦王破阵乐》。
双调
《音取》、《品玄》、《入调》、《春庭乐》、《柳花苑》。
黄钟调
《音取》、《品玄》、《入调》、《喜春乐》、《赤白桃李花》。
盘涉调
《音取》、《品玄》、《入调》、《万秋乐》、《苏合香》、《秋风乐》、《宗明乐》、《白柱》。
高丽秘曲
《颜徐》、《俱伦甲序》、《酣醉乐》、《新河浦》、《造物》、《狛犬》、《常武乐》、《狛龙》、《进曾利古》。
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Motomasa no Fue-fu
Motomasa no Fue-fu『基政笛譜』or『基政の笛譜』(Motomasa's Flute Score) is a Sino-Japanese collection of Tang-era scores for the fue (笛, transverse flute with seven finger holes, essentially the same instrument as the heng di 横笛 in use in China during the Tang Dynasty), compiled in the early 12th century by Yamanoi (Ōga) no Motomasa (1079-1138).
According to musicologist Steven G. Nelson:
This is a collection of tablature notation for transverse flute originally of two volumes, compiled by Yamanoi (Ōga) no Motomasa (1079–1138). The first volume contains notation for Tōgaku pieces; the second Komagaku and miscellaneous pieces. The exhibited copy is of the second volume. It includes records of transmission of pieces to musicians of later generations of the Ōga family, Kagekata (1168–1224), Kagemoto (1199?–1250), Kagesada (1218–83), and Kagemasa (1249–1302). In this sense, the score was a living document, added to as necessary by musicians of later generations, and it is consequently difficult to distinguish its ‘original’ contents. A complete Edo-period copy of the source is known to exist; other Meiji-era (1868–1911) copies are held by the Yamanoi and Ue families.
The use of a dot written to the right of the tablature signs to indicate rhythm only started in Japan in the early 12th century, with Motomasa no Fue-fu). The dots in all lute scores up until that time indicate upstrokes, or reverse strokes of the plectrum.
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Sango Yōroku
Sango Yōroku『三五要録』(Sanwu Yaolu,《三五要录》in Chinese), a Sino-Japanese source comprising twelve scrolls (maki, 巻) compiled by the Japanese nobleman Fujiwara no Moronaga (藤原師長, 1138-1192), likely between 1179 and 1192 during the late Heian period (794-1185), is the most important and extensive collection of Tang-era scores for the biwa (essentially the same 4-fret instrument as the bent-neck pipa 曲項琵琶 in use in China during the Tang Dynasty). Although this collection, which contains 108 compositions in biwa tablature, was prepared during what in China was the Southern Song Dynasty (1127-1279), the music contained therein had been handed down from Tang times.
The work's title, which literally means "Compilation [for the] Three-Five," derives from the traditional length of the instrument, 三尺五寸 (san shaku go sun, three feet, five inches), sango (literally "three-five") being an alternative name for the biwa.
In 1230, another Japanese nobleman named Fujiwara no Takatoki (藤原孝時, 1189 or 1190‐1266) prepared a biwa compilation whose contents are based on Sango Yōroku, called Sango Chūroku『三五中錄』.
The collection's contents are as follows, with page numbers referring to the online facsimile edition from the website of the National Institute of Japanese Literature (国文学研究資料館) in Tokyo (note that Japanese print and online sources generally use "楽" in place of 樂):
2. Shi Shang Liu Quan《石上流泉》(Japanese: Sekishō Ryūsen / せきしょうりゅうせん or Sekijō Ryūsen / せきじょうりゅうせん) (On a Rock by a Flowing Spring or A Spring Flowing Over Stones)
3. Ba Tou《拔頭》(=《抜頭》) (Japanese: Batō / ばとう)
4. Shang Yuan Shi Shang Liu Quan《上原石上流泉》(Japanese: Shōgen Sekishō Ryūsen / しょうげんせきしょうりゅうせん or Jōgen Sekijō Ryūsen / じょうげんせきじょうりゅうせん) (Above the Original "On a Rock by a Flowing Spring" or Above the Original "A Spring Flowing Over Stones")
5. Da Chang Bo Shi Yang Zhen Cao《大常博士楊真操》(Japanese: Daijō Hakushi Yōshinsō / だいじょうはくしようしんそう or Daijō Hakushi Yōshinzō / だいじょうはくしようしんぞう) (The True Version of Master Yang of the Court of Imperial Sacrifices)
6. Chen Tai Niang《陳太娘》
7. Chang Qing Zi《長慶子》(Japanese: Chōgeishi / ちょうげいし or Chōkeishi / ちょうけいし)
8. Zhuomu Diao《啄木調》(Japanese: Takuboku Chō / たくぼくちょう) (Woodpecker Tune) - p. 66
Pieces in Yiyue Diao / Ichikotsu-chō (壹越調) (=壱越調) (=一越調) (いちこつちょう)
9. Huangdi Po Zhen Yue《皇帝破陣樂》(Japanese: Ō-dai hajin-raku / おうだいはじんらく) (The Emperor Destroys the Formations) - p. 176
9. Huangdi Po Zhen Yue《皇帝破陣樂》(Japanese: Ō-dai hajin-raku / おうだいはじんらく) (The Emperor Destroys the Formations) - p. 176
10. Tuanluanxuan《團乱旋》(=《團亂旋》) (Japanese: Toraden / とらでん) (The Whirl-Around) - p. 188
11. Chunying Zhuan《春鸎囀》(=《春鶯囀》) (Japanese: Shunnō-den / しゅんのうてん) (The Spring Warbler's Song) - p. 193
12. Yushu Hou Ting Hua《玉樹後庭花》(Japanese: Gyokuju gotei-ka / ぎょくじゅごていか or Gyokuju kōtei-ka / ぎょくじゅこうていか) (A Jade Tree's Rear-Court Blossom) - p. 199
13. Hedian《賀殿》(Japanese: Katen / かてん) - p. 202
14. Niao《鳥》(Japanese: Tori / とり) (The Bird) - p. 205
15. Hui ? Yue《迴坏樂》(=《廻坏樂》, =《廻杯樂》) - p. 209
16. Hu Yin Jiu《胡飲酒》(Japanese: Konju / こんじゅ, Koinju / こいんじゅ, Koinzu / こいんず, Konzu / こんず, or Kōnju / こおんじゅ) (Sogdians Drinking Wine) - p. 214
17. He Quzi《河曲子》(Japanese: Kakyokushi / かきょくし) - p. 216
18. Beiting Yue《北庭樂》(Japanese: Hokuteiraku / ほくていらく) - p. 218
19. Shao Ying Yue《韶應樂》(=《韶応樂》) (Japanese: Shō-ō-raku / しょうおうらく) - p. 221
20. Yi Nong Yue《壹弄樂》(Japanese: Ichirōraku / いちろうらく) - p. 223
21. Yi Jin Yue《溢金樂》(Japanese: Ikinraku / いきんらく) - p. 225
24. Pusa《菩蕯》(=《菩薩》) (Japanese: Bosatsu / ぼさつ) - p. 230
25. Daoheng《道行》(Japanese: Michiyuki / みちゆき) - p. 231
28. Yin Jiu Yue《飲酒樂》(Japanese: Onjuraku / おんじゅらく or Injuraku / いんじゅらく) (Drinking Wine Music) - p. 236
Pieces in Shatuo Diao / Sada-chō (沙陀調 / さだちょう)
30. Ling Wang《𨹧王》(=《陵王》) (Japanese: Ryō-ō / りょうおう) - p. 241
31. Xin Luoling Wang《新羅陵王》(Japanese: Shinraryō‐ō / しんらりょうおう) - p. 246
33. Nong Qiang Yue《弄槍樂》(Japanese: Rōsōraku / ろうそうらく) - p. 252
35. Yi De Yan《壹德塩》(=《壹德鹽》) (Japanese: Ittoku-en / いっとくえん) - p. 257
38. Santai Yan《三䑓塩》(=《三臺塩》) (Japanese: Sandai-en / さんだいえん) - p. 266
41. Qing Yun Yue《慶雲樂》(Japanese: Kyōunraku / きょううんらく) (Auspicious Clouds Music) - p. 289
42. Hui Hu《廻忽》(Japanese: Kaikotsu / かい こつ) - p. ?
46. Guo Tou Yue《褁頭樂》(=《裹頭樂》) (Japanese: Katōraku / かとうらく) - p. 299
49. Peilu / Beilu《倍臚》(=《陪臚》) (Japanese: Bairo / ばいろ) (Bhairava) - p. 308
54. Xiao Niangzi《小娘子》(Japanese: Korōji / ころうじ) - p. 315
55. Ji De《鷄徳》(=《鷄德》) (Japanese: Keitoku / けいとく) - p. 316
Pieces in Dashi Diao / Taishiki-chō (大食調) (=太食調) (たいしきちょう)
62. Shuren Santai《庶人三臺》(Japanese: Shonin-sandai / しょにんさんだい or Sonin-sandai / そにんさんだい) - p. 349
63. Xian You Xia《仙遊霞》(Japanese: Sen'yūga / せんゆうが) - p. 350
64. Lun Gu Kun Tuo《輪鼓褌脱》(Japanese: Rinko-kodatsu / りんここだつ or or Rinko-kotatsu / りんここたつ) - p. 352
66. Qin Wang Po Zhen Yue《秦王破陣樂》(Japanese: Jinnō hajin-raku / じんのうはじんらく or Shinnō hajin-raku / しんのうはじんらく) (The Emperor of Qin Breaks the Formations) - p. 355
67. Huan Cheng Yue《還城樂》(Japanese: Genjōraku / げんじょうらく) - p. 359
69. Yin Jiu Yue《飲酒樂》(Japanese: Onjuraku / おんじゅらく or Injuraku / いんじゅらく) (Drinking Wine Music) - p. 364
70. Su Fangfei《蘇芳菲》(Japanese: Sohōhi / そほうひ) - p. 366
71. Chang Ming Nü'er《長命女児》(Japanese: Chōmei-joji / ちょうめいじょじ) - p. 369
72. Qian Jin Nü'er《千金女児》(Japanese: Senkin-joji / せんきんじょじ) - p. 370
73. An Gong Zi《安弓子》(Japanese: An-kyūshi / あんきゅうし) - p. 371
75. Chun Ting Yue《春庭樂》(Japanese: Shunteiraku / しゅんていらく) - p. 379
81. Ying Tian Yue / Ōtenraku《應天樂》(=《応天樂》) (おうてんらく) - p. 407
88. Chi Bai Lianhua Yue《赤白蓮花樂》(Japanese: Shakubyaku-rengeraku / しゃくびゃくれんげらく) - p. 434
89. Hai Qing Yue《海青樂》(Japanese: Kaiseiraku / かいせいらく) - p. 436
90. San Yin Da Qiu Yue《散吟打毬樂》(Japanese: Sangin-chōgyūraku? / さんぎんちょうぎゅうらく) (=《散金打毬樂》, Sankin-chōgyūraku? / さんきんちょうぎゅうらく?) - p. 437
Pieces in Shui Diao / Sui-chō (水調 / すいちょう)
91. Fan Long Zhou《泛龍舟》(=《汎龍舟》) (Japanese: Hanryūshū / はんりゅうしゅう or Hanryōshū / はんりょうしゅう) (The Floating Dragon Boat) - p. 441
92. Shi Cui Yue《拾翠樂》(Japanese: Jissuiraku / じっすいらく, Jisuiraku / じすいらく) (Gathering Kingfisher Feathers) - p. 445
94. Ping Man Yue / Heibanraku《平蛮樂》(=《平蠻樂》) (へいばんらく) - p. 449
Pieces in Panshe Diao / Banshiki-chō (盤渉調 / ばんしきちょう)
97. Chong Ming Yue《宗明樂》(=《崇明樂》) (Japanese: Sōmeiraku / そうめいらく) - p. 473
99. Jian Qi Kun Tuo《劍氣褌脱》(=《剣気褌脱》) (Japanese: Kenki-kodatsu / けんきこだつ or Kenki-kotatsu / けんきこたつ) - p. 476
102. Luntai《輪䑓》(=《輪臺》) (Japanese: Rindai / りんだい) - p. 483
109. Ji Ming Yue《鷄鳴樂》(=《鶏鳴樂》) (Japanese: Keimeiraku / けいめいらく) (Rooster Crowing Music) - p. 489
113. Chong Ming Yue《宗明樂》(=《崇明樂》) (Japanese: Sōmeiraku / そうめいらく) - p. 514
117. Luntai《輪䑓》(=《輪臺》) (Japanese: Rindai / りんだい) - p. 525
123. You Zi Nü《逰字女》(possibly a corruption of《遊兒女》(Japanese: ? / ?) - p. 530
124. ? - p. 531
125. Jian Qi Kun Tuo《劍氣褌脱》(=《剣気褌脱》) (Japanese: Kenki-kodatsu / けんきこだつ or Kenki-kotatsu / けんきこたつ) - p. 532
126. Xin Niao Su《新鳥蘓》(=《新鳥蘇》) (Japanese: Shin-toriso / しんとりそ) - p. 538
127. Gu Niao Su《古鳥蘓》(=《古鳥蘇》) (Japanese: Ko-toriso / ことりそ) - p. 542
128. Tui Su De?《退宿徳》(=《退宿德》) (Japanese: Daisotoku / だいそとく) - p. 546
129. Jin Su De or Jin Xiu De《進宿徳》(=《進宿德》) (Japanese: Shinshotoku / しんしょうとく or Shinsotoku / しんそとく) - p. 547
130. ?《拍桿》(Japanese: ? / ?) - p. 548
131. Zao Tan Shi《早彈時》(Japanese: ? / ?) (When Playing [literally "Plucking"] in the Morning?) - p. 549
132. Huang Ren Ting《皇仁庭》(Japanese: Ō-nin Tei / おうにんてい) (Courtyard of the Emperor's Benevolence) - p. 550
133. A Ye Qi Li《阿夜岐利》(Japanese: Ayagiri / あやぎり) - p. 554
134. Zhi Qi Chuan or Zhi Qi Zhuan?《志岐傳》(Japanese: ? / ?) - p. 556
135. Gui De Hou《歸徳侯》(Japanese: ? / ?) - p. 557
136. Gaoli Long《高麗龍》(Japanese: Koma-ryū / こまりゅう or Kōrai-ryū? / こうらい?) - p. 559
137. Quan《犬》(Japanese: Ken / けん or Inu? / いぬ?) - p. 560
138. Wan Xu《顏徐》(=《頑徐》) (Japanese: ?) - p. 563
139. Xin He Pu《新河浦》(Japanese: Shin-kafu / しんかふ) - p. 564
140. Chang Bao Yue《長寶樂》(Japanese: ? / ?) - p. 565
141. ?《進曾利古》(Japanese: Shin-sori-ko? / しんそりこ?) - p. 566
142. Hu Tong Yue《胡童樂》(Japanese: Kodōraku / こどうらく) - p. 567
143. Hanzui Yue《酣酔樂》(Japanese: Kansui-raku / かんすいらく) (Dead Drunk Music) - p. 569
144. Shi Chuan Yue《石川樂》(Japanese: Sessenraku? / せっせんらく? or Setsusenraku? / せつせんらく?) - p. 568
145. Kunlun Baxian《崑崘八仙》(=《崑崙八仙》) (Japanese: Konron Hassen / こんろんはっせん) (The Eight Immortals of Kunlun [Mountain]) - p. 570
146. Xin Mohe《新靺鞨》(Japanese: Shin-maka / しんまか) - p. 571
147. Nasuli《納蘓利》(=《納蘇利》) (Japanese: Nasori / なそり) - p. 571
148. Chang Xiong Yue《常雄樂》(Japanese: ? / ?) - p. 574
149. ?《桔捍》(Japanese: ? / ?) - p. 574
149. ?《桔捍》(Japanese: ? / ?) - p. 574
150. Zuowu《作物》(Japanese: Sakumotsu / さくもつ or Sakubutsu / さくぶつ) (The Crops) - p. 575
151. Renhe Yue《仁和樂》(Japanese: Ninnaraku / にんならく) (Benevolence Music) - p. 576
152. Yan Xi Yue《延喜樂》(Japanese: Engiraku / えんぎらく) - p. 576
153. Hudie Yue《胡蝶樂》(Japanese: Kochōraku / こちょうらく) (Butterfly Music) - p. 577
154. Lin Ge《林謌》(Japanese: Ringa / りんが) - p. 578
155. Su Zhi Mo Li《蘓志磨利》(=《蘇志磨利》, =《蘇志摩利》) (Japanese: Soshimari? / そしまり?) - p. 579
156. Dijiu《地久》(Japanese: Chikyū / ちきゅう) (The World is Lasting) - p. 580
157. Deng Tian Yue《登天樂》(Japanese: Tōtenraku / とうてんらく) - p. 581
158. Bai Bin《白濱》(Japanese: Hohin? / ほうひん? or Hakuhin? / はくひん?) - p. 581
Facsimile of Sango Yōroku from the website of the National Institute of Japanese Literature (国文学研究資料館) in Tokyo:
Page from the Shanghai Conservatory of Music's website:
http://ceanotation.www.shcmusic.edu.cn/strongly/book.jsp?id=46&name=%E4%B8%89%E4%BA%94%E8%A6%81%E5%BD%95
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Jinchi Yōroku
Jinchi Yōroku『仁智要録』(Renzhi Yaolu,《仁智要录》in Chinese), another Sino-Japanese source compiled by the Japanese nobleman Fujiwara no Moronaga (藤原師長, 1138-1192), likely between 1179 and 1192 during the late Heian period (794-1185) and containing more than 200 pieces in koto tablature, is the most important and extensive collection of Tang-era scores for the 13-string koto, also called sō no koto (essentially the same instrument as the zheng 筝 in use in China during the Tang Dynasty). Although this collection was prepared during what in China was the Southern Song Dynasty (1127-1279), the music contained therein had been handed down from Tang times.
The collection's title, which translates literally as "Compilation [for the] Benevolence-Wisdom [Instrument]," derives from the traditional names for the first two (lowest) of the thirteen strings of the koto, which are as follows (from low to high): 「仁智礼儀信文武翡闌商斗為巾」.
The collection's contents are as follows, with page numbers referring to the facsimile edition on the website of the National Institute of Japanese Literature (国文学研究資料館) in Tokyo (note that Japanese print and online sources generally use "楽" in place of 樂):
1. Chi Bai Lianhua Yue《赤白蓮花樂》(Japanese: Shakubyaku-rengeraku / しゃくびゃくれんげらく)
3. Deng Tian Yue《登天樂》(Japanese: Tōtenraku / とうてんらく)
4. Bai Bin《白濱》(Japanese: Hohin? / ほうひん? or Hakuhin? / はくひん?)
5. Shi Chuan Yue《石川樂》(Japanese: Sessenraku? / せっせんらく? or Setsusenraku? / せつせんらく?)
11. Hui Hu《廻忽》(Japanese: Kaikotsu / かい こつ)
12. Qing Yun Yue《慶雲樂》(Japanese: Kyōunraku / きょううんらく) (Auspicious Clouds Music)
Pieces in Yiyue Diao / Ichikotsu-chō (壹越調) (=壱越調) (=一越調) / いちこつちょう
14. Huangdi Po Zhen Yue《皇帝破陣樂》(Japanese: Ō-dai hajin-raku / おうだいはじんらく) (The Emperor Destroys the Formations) - p. 149
15. Tuanluanxuan《團乱旋》(=《團亂旋》) (Japanese: Toraden / とらでん) (The Whirl-Around) - p. 163
16. Chunying Zhuan《春鸎囀》(=《春鶯囀》) (Japanese: Shunnō-den / しゅんのうてん) (The Spring Warbler's Song) - p. 169
17. Yushu Hou Ting Hua《玉樹後𨓀花》(=《玉樹後庭花》) (Japanese: Gyokuju gotei-ka / ぎょくじゅごていか or Gyokuju kōtei-ka / ぎょくじゅこうていか) (A Jade Tree's Rear-Court Blossom) - p. 175
18. Niao《鳥》(Japanese: Tori / とり) (The Bird) - p. 181
19. Hui ? Yue《廽坏樂》(=《廻坏樂》, =《廻杯樂》) (Japanese: Kaibairaku / かいばいらく) - p. 185
20. Hu Yin Jiu《胡飲酒》(Japanese: Konju / こんじゅ, Koinju / こいんじゅ, Koinzu / こいんず, Konzu / こんず, or Kōnju / こおんじゅ) (Sogdians Drinking Wine) - p. 189
21. Beiting Yue《北𨓀樂》(=《北庭樂》) (Japanese: Hokuteiraku / ほくていらく) - p. 192
22. Shao Ying Yue《韶應樂》(=《韶応樂》) (Japanese: Shō-ō-raku / しょうおうらく) - p. 193
23. Yi Jin Yue《溢金樂》(Japanese: Ikinraku / いきんらく) - p. 195
24. Chenghe Yue《承和樂》(Japanese: Shōwaraku / しょうわらく) - p. 197
26. Pusa《菩蕯》(=《菩薩》) (Japanese: Bosatsu / ぼさつ) - p. 202
28. Jiu Qing Si《酒清司》(Japanese: Shuseishi / しゅせいし) - p. 206
29. Yin Jiu Yue《飲酒樂》(Japanese: Onjuraku / おんじゅらく or Injuraku / いんじゅらく) (Drinking Wine Music) - p. 206
30. Yi Tuan Jiao《壹團嬌》(Japanese: Itto-kyō? / いっときょう) - p. 208
32. Xin Luoling Wang《新羅陵王》(Japanese: Shinraryō‐ō / しんらりょうおう) - p. 214
34. Nong Qiang Yue《弄槍樂》(Japanese: Rōsōraku / ろうそうらく) - p. 219
36. Yi De Yan《壹德塩》(=《壹德鹽》) (Japanese: Ittoku-en / いっとくえん)
39. Santai Yan《三䑓塩》(=《三臺塩》) (Japanese: Sandai-en / さんだいえん) - p. 233
42. Qing Yun Yue《慶雲樂》(Japanese: Kyōunraku / きょううんらく) (Auspicious Clouds Music) - p. 24344. Xiang Fu Lian《想夫戀》(Japanese: Sōfuren / そうふれん) - p. 248
46. Guo Tou Yue《褁頭樂》(=《裹頭樂》) (Japanese: Katōraku / かとうらく) - p. 254
49. Chun Yangliu《春楊柳》(Japanese: Shunyōryū / しゅんようりゅう) (Springtime Willows) - p. 266
53. Xiao Langzi《小郞子》(Japanese: Korōji / ころうじ or Korōshi / ころうし) - p. 273
56. Shuren Santai《庶人三䑓》(=《庶人三臺》) (Japanese: Shonin-sandai / しょにんさんだい or Sonin-sandai / そにんさんだい) - p. 311
57. Xian You Xia《仙𨔼霞》(=《仙遊霞》) (Japanese: Sen'yūga / せんゆうが) - p. 312
58. Lun Gu Kun Tuo《輪鼓褌脱》(Japanese: Rinko-kodatsu / りんここだつ or Rinko-kotatsu / りんここたつ) - p. 314
59. Chang Qing Zi《長慶子》(Japanese: Chōgeishi / ちょうげいし or Chōkeishi / ちょうけいし) - p. 315
Pieces in Qishi Diao / Kotsujiki-chō or Kotsushiki-chō (乞食調 / こつじきちょう or こつしきちょう)
61. Qin Wang Po Zhen Yue《秦王破陣樂》(Japanese: Jinnō hajin-raku / じんのうはじんらく or Shinnō hajin-raku / しんのうはじんらく) (The Emperor of Qin Breaks the Formations) - p. 319
62. Huan Cheng Yue《還城樂》(Japanese: Genjōraku / げんじょうらく) - p. 323
64. Yin Jiu Yue《飲酒樂》(Japanese: Onjuraku / おんじゅらく or Injuraku / いんじゅらく) (Drinking Wine Music) - p. 328
65. Su Fangfei《蘇芳菲》(Japanese: Sohōhi / そほうひ) - p. 331
Pieces in Xing Diao / Sei-chō (性調 / せいちょう)
66. Chang Ming Nü'er《長命女児》(Japanese: Chōmei-joji / ちょうめいじょじ) - p. 334
67. Qian Jin Nü'er《千金女児》(Japanese: Senkin-joji / せんきんじょじ) - p. 337
68. An Gong Zi《安弓子》(Japanese: An Kyūshi / あんきゅうし) - p. 339
Pieces in Shuang Diao / Sōjō (雙調 / そうじょう)
70. Chun Ting Yue《春𨓀樂》(=《春庭樂》) (Japanese: Shunteiraku / しゅんていらく) - p. 349
Pieces in Huangzhong Diao / Ōshiki-chō (黃鐘調) (=黄鐘調) (おうしきちょう)
81. Nong Dian Yue?《弄殿樂》(Japanese: Rōtenraku / ろうてんらく or Rōdenraku / ろうでんらく) - p. 392
Pieces in Shui Diao / Sui-chō (水調 / すいちょう)
83. Hai Qing Yue《海青樂》(Japanese: Kaiseiraku / かいせいらく) - p. 401
85. Shi Cui Yue《拾翠樂》(Japanese: Jissuiraku / じっすいらく, Jisuiraku / じすいらく) (Gathering Kingfisher Feathers) - p. 410
Pieces in Panshe Diao / Banshiki-chō (盤渉調 / ばんしきちょう)
88. Chong Ming Yue《崇明樂》(Japanese: Sōmeiraku / そうめいらく) - p. 461
92. Luntai《輪䑓》(=《輪臺》) (Japanese: Rindai / りんだい) - p. 480
99. You Zi Nü《逰字女》(possibly a corruption of《遊兒女》) (Japanese: ? / ?) - p. 499
100. Ji Ming Yue《鷄鳴樂》(=《鶏鳴樂》) (Japanese: Keimeiraku / けいめいらく) (Rooster Crowing Music) - p. 501
103. Xin Niao Su《新鳥蘓》(=《新鳥蘇》) (Japanese: Shin-toriso / しんとりそ) - p. 510
104. Tui Su De?《退宿徳》(=《退宿德》) (Japanese: Daisotoku / だいそとく) - p. 518
105. Jin Su De or Jin Xiu De《進宿德》(Japanese: Shinshotoku / しんしょうとく or Shinsotoku / しんそとく) - p. 520
106. ?《拍桿》(Japanese: ? / ?) - p. 521
107. Huang Ren Ting《皇仁𨓀》(=《皇仁庭》) (Japanese: Ō-nin Tei / おうにんてい) (Courtyard of the Emperor's Benevolence) - p. 523
108. A Ye Qi Li《阿夜岐利》(Japanese: ? / ?) - p. 527
109. Gaoli Long / Koma-ryū or Kōrai-ryū?《高麗龍》(こまりゅう or こうらい?) - p. 532
110. Kunlun Baxian《崑崙八仙》(Japanese: Konron Hassen / こんろんはっせん) (The Eight Immortals of Kunlun [Mountain]) - p. 544
111. Renhe Yue《仁和樂》(Japanese: Ninnaraku / にんならく) (Benevolence Music) - p. 549
112. Hudie Yue《胡蝶樂》(Japanese: Kochōraku / こちょうらく) (Butterfly Music) - p. 551
113. Poluomen《婆羅門》(Japanese: Baramon / ばらもん) (The Brahman)
114. Zao Yin Yang Zhen Cao《早引楊真操》(Japanese: Hayabiki Yōshinsō / はやびきようしんそう)
115. Shizi《獅子》(Japanese: Shishi / しし)
116. Jingang《金剛》(Japanese: Kongō / こんごう)
117. Jialouluo《迦樓羅》(Japanese: Karura / かるら) (Garuda)
118. Da Gu《大孤》(Japanese: Tai Ku or Tai Ko / ?)
119. Kunlun《崑崙》(Japanese: Konron / こんろん) (Kunlun [Mountain])
120. Lishi《力士》(Japanese: Rikishi / ?)
121. ?《吴土》(Japanese: ? / ?)
122. Zui Gu《酔孤》(Japanese: Sui Ku or Sui Ko / ?)
Facsimile of Jinchi Yōroku from the website of the National Institute of Japanese Literature (国文学研究資料館) in Tokyo (missing part 12):
Page from the Shanghai Conservatory's website:
http://ceanotation.www.shcmusic.edu.cn/strongly/book.jsp?id=47&name=%E4%BB%81%E6%99%BA%E8%A6%81%E5%BD%95
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Ko-fu/Hōshō-fu ryo-kan
Ko-fu-Ryoritsu-no-Maki 『古譜呂律巻』, also called Hōshō-fu 『鳳笙譜』, is a collection of Tang-era scores in tablature for mouth organ, dating to 1201 and compiled by Toyohara no Toshiaki (豊原利秋, 1155 or 1162-1212).
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Tenkanraku hoka gigaku-fu
Tenkanraku hoka gigaku-fu『天感楽外妓楽譜』(てんかんらく ほか ぎがく ふ) is a collection comprising lute scores for nine Tang pieces, dating to the Kamakura period (1185-1333). According to musicologist Steven G. Nelson, Tenkanraku is the name of the first piece in the collection, "hoka" is the kun-reading of 外, meaning "and others," "gigaku" is the name of the masked dance-drama, and "fu" means "notation."
This collection's contents are as follows:
1)《天感樂》(Japanese: Tenkanraku? / てんかんらく?)
2)《曺樂》
3)《妓樂》（師子・呉公・金剛・迦楼羅・崑崙・力士・波羅門・大狐・酔胡・武徳楽（譜なし））
4)《送秋樂》(Japanese: Sōshūraku? / そうしゅうらく?)
5)《鳳声樂》
6)《勝樂》、〓《女＋武》媚娘
7)《和風樂》(Japanese: Kafūraku? / かふうらく?)
8)《榎葉井》(Japanese: Enowai? / えのはい?)
9)《長元樂》(Japanese: Chōgenraku? / ちょうげんらく?)（題名のみ）
Bibliographic information:
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Kagaku ifu
Kagaku ifu『歌楽維譜』is a miscellaneous collection of flute and lute notation and various other textual sources about music, compiled in Japan in the 13th century, during the Kamakura period. As of 2021, this manuscript has only recently been made public.
The collection's contents are as follows (note that Japanese print and online sources generally use "楽" in place of 樂):
1) Cheng Tian Yue《承天樂》(Japanese: Shōtenraku / しょうてんらく)
2) Da Bao Yue《大寶樂》(Japanese: Taihōraku? / たい ほう らく?)
3) Da Ding Yue《大定樂》(Japanese: Daijōraku? / だいじょうらく?)
4) Zui Gongzi《醉公子》(Japanese: ? / ?)
7) Xing Ming Yue《興明樂》(Japanese: Kōmeiraku / こうめいらく)
8) Hu Weizhou《胡渭州》(Japanese: Koishū? / こいしゅう?)
9) Da Bu Yue《大補樂》(Japanese: ? / ?)
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Ruisō Chiyō
Ruisō Chiyō『類箏治要』(Compendium for Mastering the Long Zither) is a gakusō (zither) manuscript dated to 1296 or c. 1261, during the Kamakura period; the compiler is unknown.
According to musicologist Steven G. Nelson:
This is a collection of tablature notation for sō (long zither) originally in 18 scrolls, thought to be of late 13th-century date, the compiler of which is unknown. It is said to represent the tradition of Waka Gozen, a famous player in the Nakamikado school, one of the teachers of Fujiwara no Moronaga, and daughter of Fujiwara no Munesuke (1077-1162). Sections of the source lost at an early date have been supplemented with corresponding sections from Jinchi Yōroku (Item 41). A study of music theory in scrolls 1 to 4 contains many quotations from ancient Chinese sources, many of which have been lost. Notation for solo pieces (tuning pieces and modal preludes) includes notation transmitted to Japan by the Chinese musician Sun Bin (孫賓), who came to Japan in 845 (Jōwa 12). Scrolls 17 and 18 of the original, notations for Komagaku pieces, are not included in this copy, which is a copy of the version collated by Oka no Masana (1681-1759).
The collection's contents are as follows, with page numbers referring to the facsimile edition on the website of the National Institute of Japanese Literature (国文学研究資料館) in Tokyo (note that Japanese print and online sources generally use "楽" in place of 樂):
Pieces in Yiyue Diao / Ichikotsu-chō (壹越調) (=壱越調) (=一越調) / いちこつちょう
1. Huangdi Po Zhen Yue《皇帝破陣樂》(Japanese: Ō-dai hajin-raku / おうだいはじんらく) (The Emperor Destroys the Formations) - p. 85
2. Tuanluanxuan《團乱旋》(=《團亂旋》) (Japanese: Toraden / とらでん) (The Whirl-Around) - p. 114
3. Chunying Zhuan《春鸎囀》(=《春鶯囀》) (Japanese: Shunnō-den / しゅんのうてん) (The Spring Warbler's Song) - p. 126
4. Yushu Hou Ting Hua《玉樹後庭華》(=《玉樹後庭花》) (Japanese: Gyokuju gotei-ka / ぎょくじゅごていか or Gyokuju kōtei-ka / ぎょくじゅこうていか) (A Jade Tree's Rear-Court Blossom), p. 131
5. Niao《鳥》(Japanese: とり) (The Bird) - p. 136
6. Hu Yin Jiu《胡飲酒》(Japanese: Konju / こんじゅ, Koinju / こいんじゅ, Koinzu / こいんず, Konzu / こんず, or Kōnju / こおんじゅ) (Sogdians Drinking Wine) - p. 139
7. Chenghe Yue《承和樂》(Japanese: Shōwaraku / しょうわらく) - p. 140
8. Pusa《菩薩》(Japanese: Bosatsu / ぼさつ) - p. 141
9. Beiting Yue《北庭樂》(Japanese: Hokuteiraku / ほくていらく) - p. 144
10. Jiu Huzi《酒胡子》(Japanese: Shukoshi / しゅこし) - p. 145
11. He Quzi《河曲子》(Japanese: Kakyokushi / かきょくし) - p. 147
12. Shao Ying Yue《韶應樂》(=《韶応樂》) (Japanese: Shō-ō-raku / しょうおうらく) - p. 148
13. Yi Nong Yue《壹弄樂》(Japanese: Ichirōraku / いちろうらく) - p. 148
14. Yi Jin Yue《溢金樂》(Japanese: Ikinraku / いきんらく) - p. 149
15. He Shui Yue《河水樂》(Japanese: Kasuiraku / かすいらく) (River Water Music) - p. 150
16. Jiu Qing Si《酒清司》(Japanese: Shuseishi / しゅせいし) - p. 152
17. Yin Jiu Yue《飲酒樂》(Drinking Wine Music) (Japanese: Onjuraku / おんじゅらく or Injuraku / いんじゅらく) - p. 152
18. Yi Tuan Jiao《壹團嬌》(Japanese: Itto-kyō? / いっときょう) - p. 153
Pieces in Shatuo Diao / Sada-chō (沙陀調 / さだちょう)
19. Xin Luoling Wang《新羅陵王》(Japanese: Shinraryō‐ō / しんらりょうおう) - p. 161
21. Qin He Niao《沁河鳥》(Japanese: Shingachō / しんがちょう) (Birds of the Qin River) - p. 166
22. Anle Yan《安樂塩》(Japanese: Anraku-en / あんらくえん) - p. 168
23. Shi Tian Yue《十天樂》(Japanese: Jittenraku / じってんらく) (Ten Devas Music) - p. 169
Pieces in Ping Diao / Hyōjō (平調 / ひょうじょう)
24. Wu Chang Yue《五常樂》(Japanese: Goshōraku / ごしょうらく) (Five Constant Virtues Music) - p. 176
25. Santai Yan《三䑓塩》(=《三臺塩》) (Japanese: Sandai-en / さんだいえん) - p. 182
26. Huang Zhang《皇麞》(Japanese: Ōjō / おうじょう) - p. 185
27. Wan Sui Yue《萬歳樂》(=《萬歲樂》) (Japanese: Manzairaku / まんざいらく) - p. 191
28. Qing Yun Yue《慶雲樂》(Japanese: Kyōunraku / きょううんらく) (Auspicious Clouds Music) - p. 194
29. Guo Tou Yue《褁頭樂》(=《裹頭樂》) (Japanese: Katōraku / かとうらく) - p. 196
30. Peilu? / Beilu?《倍臚?》(=《陪臚》) (Japanese: Bairo / ばいろ) (Bhairava) - p. 198
31. Ganzhou / Kanshū《泔洲》(=《甘州》) (かんしゅう; historical form: かんしう) - p. 200
32. Hui Hu《廽忽》(=《廻忽》) (Japanese: Kaikotsu / かい こつ) - p. 202
33. Xiang Fu Lian《想夫戀》(Japanese: Sōfuren / そうふれん) - p. 202
34. Yong Sheng《勇勝》(Japanese: Yōjō / ようじょう) - p. 204
35. Yong Long Yue《永隆樂》(Japanese: Eiryūraku / えいりゅうらく) (Music of Eternal Prosperity) - p. 207
36. Lang Junzi《郞君子》(Japanese: Rōkunshi / ろうくんし) - p. 209
37. Funan《扶南》(Japanese: Funan / ふなん) - p. 210
38. Xiao Langzi《小郞子》(Japanese: Korōji / ころうじ or Korōshi / ころうし) - p. 210
39. Ji De?《鶏德》(=《鷄德》) (Japanese: ? / ?) - p. 211
40. Lun Gu Kun Tuo《輪鼓褌脱》(Japanese: Rinko-kodatsu / りんここだつ or or Rinko-kotatsu / りんここたつ) - p. 212
41. Chun Yangliu《春楊柳》(Japanese: Shunyōryū / しゅんようりゅう) (Springtime Willows) - p. 212
42. Yeban Yue《夜半樂》(Japanese: Yahanraku / やはんらく) - p. 215
43. Chang Ming Nü'er《長命女兒》(Japanese: Chōmei-joji / ちょうめいじょじ) - p. 218
44. Qian Jin Nü'er《千金女兒》(Japanese: Senkin-joji / せんきんじょじ) - p. 219
45. Song? Qiu Yue《送秋樂》(Japanese: Sōshūraku? / そうしゅうらく?) - p. 221
46. An? Gongzi《安?公子》(Japanese: ? / ?) - p. 222
47. Wang Zhaojun《王昭君》(Japanese: Ōshōkun / おう しょうくん) - p. 225
Pieces in Dashi Diao / Taishiki-chō (大食調) (=太食調) (たいしきちょう)
49. Wu Chang Taiping Yue《武昌太平樂》(Japanese: Bushō-taiheiraku / ぶしょうたいへいらく) - p. 235
50. Qing Bei Yue《傾杯樂》(Japanese: Keibairaku / けいばいらく) (Tilted Cup Music) - p. 240
51. Da Qiu Yue《打球樂》(=《打毬樂》) (Japanese: Tagyūraku / たぎゅうらく) - p. 248
52. Tianren Yue《天人樂》(Japanese: Tenninraku / てんにんらく or Tenjinraku / てんじんらく) - p. 250
53. Shuren Santai《庶人三䑓》(=《庶人三臺》) (Japanese: Shonin-sandai / しょにんさんだい or Sonin-sandai / そにんさんだい) - p. 252
54. Xian You Xia《仙遊霞》(Japanese: Sen'yūga / せんゆうが) - p. 253
55. Lun Gu Kun Tuo《輪鼓褌脱》(Japanese: Rinko-kodatsu / りんここだつ or or Rinko-kotatsu / りんここたつ) - p. 254
Pieces in Qishi Diao / Kotsujiki-chō or Kotsushiki-chō (器食調, =乞食調 / こつじきちょう or こつしきちょう)
56. Qin Wang Po Zhen Yue《秦王破陣樂》(Japanese: Jinnō hajin-raku / じんのうはじんらく or Shinnō hajin-raku / しんのうはじんらく) (The Emperor of Qin Breaks the Formations) - p. 256
57. Huan Cheng Yue《還城樂》(Japanese: Genjōraku / げんじょうらく) - p. 260
59. Yin Quan Yue?《飲泉?樂》(Japanese: ? / ?) - p. 263
60. Su Fangfei《蘓芳菲》(=《蘇芳菲》) (Japanese: Sohōhi / そほうひ) - p. 265
61. Gan'en Duo《感恩多》(Japanese: Ka-o-ta / かおた) - p. 266
62. Chang Qing Zi《長慶子》(Japanese: Chōgeishi / ちょうげいし or Chōkeishi / ちょうけいし) - p. 267
Pieces in Shuang Diao / Sōjō (雙調 / そうじょう)
63. Chun Ting Yue《春庭樂》(Japanese: Shunteiraku / しゅんていらく) - p. 273
64. Liu Hua Yuan?《柳花園?》(=《柳花苑》) (Japanese: Ryūka-en / りゅうかえん) - p. 274
65. He Feng Yue《和鳳樂》(=《和風樂》) (Japanese: ? / ?) - p. 279
Pieces in Huangzhong Diao / Ōshiki-chō (黃鐘調) (=黄鐘調) (おうしきちょう)
66. Xi Chun Yue《喜春樂》(Japanese: Kishunraku / きしゅんらく) (Joyful Spring Music) - p. 287
67. Qingshang Yue《清上樂》(Japanese: Seijōraku / せいじょうらく) - p. 291
68. Gan Cheng Yue《感城樂》(Japanese: Kanjōraku / かんじょうらく or Kanzeiraku / かんぜいらく) - p. 293
69. Shengming Yue《聖明樂》(Japanese: Seimeiraku / せいめいらく) (Music of August Wisdom) - p. 300
70. Nong Dian Yue《弄殿樂》(Japanese: Rōtenraku / ろうてんらく or Rōdenraku / ろうでんらく) - p. 303
72. Yang Gong Yue《央宮樂》(Japanese: Yōgūraku / ようぐうらく) (Central Palace Music) - p. 305
73. Chang Sheng Yue《長生樂》(Japanese: Chōseiraku / ちょうせいらく) (Music of Longevity) - p. 307
74. Xi Wang Yue《西王樂》(Japanese: Sai-ō-raku / さいおうらく) - p. 308
75. Ying Tian Yue《應天樂》(=《応天樂》) (Japanese: Ōtenraku / おうてんらく) - p. 309
75. Ying Tian Yue《應天樂》(=《応天樂》) (Japanese: Ōtenraku / おうてんらく) - p. 309
76. Chi Bai Lian Hua Yue《赤白蓮華樂》(=《赤白蓮花樂》) (Japanese: Shakubyaku-rengeraku / しゃくびゃくれんげらく) - p. 312
77. Hai Qing Yue《海青樂》(Japanese: Kaiseiraku / かいせいらく) - p. 314
Pieces in Shui Diao / Sui-chō (水調 / すいちょう)
78. Fan Long Zhou《泛龍舟》(=《汎龍舟》) (Japanese: Hanryūshū / はんりゅうしゅう or Hanryōshū / はんりょうしゅう) (The Floating Dragon Boat) - p. 320
79. Shi Cui Yue《拾翠樂》(Japanese: Jissuiraku / じっすいらく, Jisuiraku / じすいらく) - p. 324
80. Chongguang Yue《重光樂》(Japanese: Jūkōraku / じゅうこうらく) - p. 325
81. Ping Man Yue / Heibanraku《平蠻樂》(へいばんらく) - p. 327
82. San Yin Da Qiu Yue《散吟打毬樂》(Japanese: Sangin-tagyūraku / さんぎんたぎゅうらく) - p. 328
83. Jia Ye Jing / Kayōsei?《榎葉井》(えのはい?) - p. 330
84. Fan Long Zhou《泛龍舟》(=《汎龍舟》) (Japanese: Hanryūshū / はんりゅうしゅう or Hanryōshū / はんりょうしゅう) (The Floating Dragon Boat) - p. 331
85. Shi Cui Yue《拾翠樂》(Japanese: Jissuiraku / じっすいらく, Jisuiraku / じすいらく) (Gathering Kingfisher Feathers) - p. 335
86. Chongguang Yue《重光樂》(Japanese: Jūkōraku / じゅうこうらく) - p. 337
87. Ping Man Yue / Heibanraku《平蠻樂》(へいばんらく) - p. 337
88. San Yin Da Qiu Yue《散吟打毬樂》(Japanese: Sangin-tagyūraku / さんぎんたぎゅうらく) - p. 338
Pieces in Panshe Diao / Banshiki-chō (盤渉調 / ばんしきちょう)
89. Wan Qiu Yue《萬秋樂》(Japanese: Manjūraku / まんじゅうらく) (Music of Ten Thousand Autumns) - p. 344
90. Ci Zun???《慈尊???》(Japanese: ? / ?) - p. 364
91. Ci Zun Cheng Dao Yue《慈尊成道樂》(Japanese: ? / ?) - p. 367
92. Su He Xiang《蘓合香》(=《蘇合香》) (Japanese: Sogōkō / そごうこう) (Liquidambar Incense) - p. 375
93. Qiu Feng Yue《秋風樂》(Japanese: Shūfūraku / しゅうふうらく) (Autumn Wind Music) - p. 391
94. Luntai《輪䑓》(=《輪臺》) (Japanese: Rindai / りんだい) - p. 394
95. Qinghai Bo《青海波》(Japanese: Seigaiha / せいがいは) (The Waves of Kokonor) - p. 403
Komagaku pieces - Gaoli Qu / Koma-kyoku / (高麗曲 / こまきょく)
96. Xin Niao Su《新鳥蘓》(=《新鳥蘇》) (Japanese: Shin-toriso / しんとりそ) - p. 410
97. Huang Ren Ting《皇仁庭》(Japanese: Ō-nin Tei / おうにんてい) (Courtyard of the Emperor's Benevolence) - p. 414
98. A Ye Qi Li《阿夜岐利》(Japanese: Ayagiri / あやぎり) - p. 416
99. Xin He Pu《新河浦》(Japanese: Shin-kafu / しんかふ) - p. 421
100. Shi Chuan Yue《石川樂》(Japanese: Sessenraku? / せっせんらく? or Setsusenraku? / せつせんらく?) - p. 424
101. Kunlun Baxian《崑崙八仙》(Japanese: Konron Hassen / こんろんはっせん) (The Eight Immortals of Kunlun [Mountain]) - p. 425
102. Xin Mohe《新靺鞨》(Japanese: Shin-maka / しんまか) - p. 426
103. Nasuli《納蘓利》(=《納蘇利》) (Japanese: Nasori / なそり) - p. 426
104. Chang Xiong Yue《常雄樂》(Japanese: ? / ?) - p. 427
105. Renhe Yue《仁和樂》(Japanese: Ninnaraku / にんならく) (Benevolence Music) - p. 428
106. Yan Xi Yue《延喜樂》(Japanese: Engiraku / えんぎらく) - p. 428
107. Hudie Yue《胡蝶樂》(Japanese: Kochōraku / こちょうらく) (Butterfly Music) - p. 429
108. Lin Ge《林歌》(Japanese: Ringa / りんが) - p. 430
109. Su Zhi Mo Li《蘓志磨利》(=《蘇志磨利》, =《蘇志摩利》) (Japanese: Soshimari? / そしまり?) - p. 431
110. Dijiu《地久》(Japanese: Chikyū / ちきゅう) (The World is Lasting) - p. 432
111. Deng Tian Yue《登天樂》(Japanese: Tōtenraku / とうてんらく) - p. 433
112. Xin Niao Su《新鳥蘓》(=《新鳥蘇》) (Japanese: Shin-toriso / しんとりそ) - p. 440
113. Gu Niao Su《古鳥蘓》(=《古鳥蘇》) (Japanese: Ko-toriso / ことりそ) - p. 443
114. Tui Su De?《退宿德》(Japanese: Daisotoku / だいそとく) - p. 444
115. Gou ?《狗?》(Japanese: ? / ?) - p. 445
116. Huang Ren Ting《皇仁庭》(Japanese: Ō-nin Tei / おうにんてい) (Courtyard of the Emperor's Benevolence) - p. 446
117. A Ye Qi Li《阿夜岐利》(Japanese: Ayagiri / あやぎり) - p. 447
118. Zhi Qi Chuan or Zhi Qi Zhuan?《志岐傳》(Japanese: ? / ?) - p. 449
119. Ju Lun Jia Xu《俱倫甲序》(Japanese: ? / ?) - p. 449
120. Gui De Hou?《貴德侯?》(Japanese: ? / ?) - p. 450
121. Gaoli Long《高麗龍》(Japanese: Koma-ryū / こまりゅう or Kōrai-ryū? / こうらい?) - p. 451
122. Gaoli Quan《高麗犬》(Japanese: Koma-ken? / こまけん? or Koma-gen? / こまげん? or Koma-inu? / こまいぬ?) (The Goryeo Dog) - p. 451
123. Xin He Pu《新河浦》(Japanese: Shin-kafu / しんかふ) - p. 452
124. Xin Ceng Li Gu? or Xin Zeng Li Gu?《新曾利古》(Japanese: ? / ?) - p. 455
125. ?《?鼻胡德》(Japanese: ? / ?) - p. 456
126. Gan Zui Yue《甘醉樂》(Japanese: ? / ?) - p. 456
127. Kunlun Baxian《崑崙八仙》(Japanese: Konron Hassen / こんろんはっせん) (The Eight Immortals of Kunlun [Mountain]) - p. 457
128. Xin Mohe《新靺鞨》(Japanese: Shin-maka / しんまか) - p. 458
129. Na Ceng? Li or Na Zeng? Li《納曽利》(Japanese: Nasori / なそり) - p. 458
130. Chang Xiong Yue《常雄樂》(Japanese: ? / ?) - p. 459
131. Renhe Yue《仁和樂》(Japanese: Ninnaraku / にんならく) (Benevolence Music) - p. 459
132. Yan Xi Yue《延喜樂》(Japanese: Engiraku / えんぎらく) - p. 460
133. Hudie Yue《胡蝶樂》(Japanese: Kochōraku / こちょうらく) (Butterfly Music) - p. 460
134. Lin Ge《林歌》(Japanese: Ringa / りんが) - p. 461
135. Su Zhi Mo Li《蘓志磨利》(=《蘇志磨利》, =《蘇志摩利》) (Japanese: Soshimari? / そしまり?) - p. 462
136. Dijiu《地久》(Japanese: Chikyū / ちきゅう) (The World is Lasting) - p. 462
137. Deng Tian Yue《登天樂》(Japanese: Tōtenraku / とうてんらく) - p. 463
138. Bai Bin《白濱》(Japanese: Hohin? / ほうひん? or Hakuhin? / はくひん?) - p. 463
Facsimile of an 18-scroll, 15-volume version of Ruisō Chiyō in the collection of the Kunaichō Shoryōbu (宮内庁書陵部, the Imperial Palace library, officially the Archives and Mausolea Department of the Imperial Household Agency), from the website of the National Institute of Japanese Literature (国文学研究資料館) in Tokyo, scrolls 17 and 18 contain Komagaku pieces:
Listing for a 20-scroll version of Ruisō Chiyō in the collection of the National Diet Library
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Shinsen Shōteki-fu
The Shinsen Shōteki-fu『新撰笙笛譜』(literally "Newly Compiled Shō Scores"; Xin Zhuan Shengdi Pu in Chinese) is a Japanese scroll dating to 1302 or 1303, during the Kamakura period, compiled by someone named Raiin 頼胤, who is presumed to have been a Buddhist priest. It contains Tang pieces in shō tablature (the term shōteki 笙笛 referring to the shō mouth organ).
According to musicologist Steven G. Nelson:
Evidently the colophon of the original (held by Yōmei Bunko 陽明文庫, Kyoto) includes a record of Raiin transmitting this source to someone named Seiin (静胤), probably another Buddhist priest.
The collection's contents are as follows:
1) Cao Po《曹婆》(Japanese: Sōba / そうば)
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Chū Ōga Ryūteki Yōroku-fu
Chū Ōga Ryūteki Yōroku-fu『註大家龍笛要録譜』, also known as Ōga Kagemitsu no Ryūteki, is a Japanese scroll compiled by Yamanoi no Kagemitsu (山井景光, 1273-1353 or 1354) and containing Tang pieces in transverse flute tablature. Its date of compilation has been variously assigned to 1316, c. 1320, and c. 1330, during the late Kamakura period, and it survives in many copies.
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[Nakahara] Rosei-shō
[Nakahara] Rosei-shō『〔中原〕蘆声抄』is a collection of notation for the hichiriki, formally named Rosei-shō, but usually headed with the surname of its compiler in order to avoid confusion with other similarly named collections. Divided into two sections (volumes or scrolls, depending on the copy), it contains hichiriki notation for the Tōgaku, Komagaku, and kagura (神楽) repertoires. It was compiled betwên 1341 and 1346 (during the early Muromachi period) by Nakahara Shigemasa (中原茂政, 1274-?), a student of the Kyoto-based hichiriki player Abe no Suetoshi (安倍季俊, 1241-1321), for transmission to one Isshiki Naouji (一色直氏), a junior assistant minister of the Imperial Household. Nakahara played hichiriki at the Music Department in Kamakura.
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Hōshō-fu
Hōshō-fu『鳳笙譜』(not to be confused with other collections of the same name) is a collection of Tang-era scores in tablature for mouth organ. According to musicologist Steven G. Nelson, the first volume of this work (containing Hyōjō and Banshiki-chō pieces) is dated the 9th month of the 3rd year of the Entoku (延徳) year period, or 1491, during the Muromachi period. The second volume (containing Ichikotsu-chō and Sōjō pieces) is dated the 10th month of the same year, and the third volume (containing Ōshiki-chō and Taishiki-chō pieces) the 12th month of the same year. The collection is signed by Shigeaki (繁秋), who can be identified as Toyohara (no) Shigeaki, from a family of shō players based in Kyoto. Although his dates are unknown, the genealogy of the Toyohara family includes him at approximately the right place in chronological terms. He belonged to a minor branch of the family, and does not seem to have produced any shō-playing sons.
Facsimile of Hōshō-fu, from the website of the Imperial Household Agency:
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Chingaku-rui
Chingaku-rui『珍楽類』（ちんがくるい）is a collection of Tang pieces in mouth organ tablature, which was compiled in Japan in the Muromachi period (1336-1573).
Bibliographic information:
Facsimile of Chingaku-rui:
https://kotenseki.nijl.ac.jp/biblio/100293336/viewer/1
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Biwa-fu
The Biwa-fu『琵琶譜』(literally "Biwa Scores"; Pipa Pu in Chinese) is a Japanese scroll dated 1566, containing Tang pieces in biwa tablature. It has been transcribed and published by Rembrandt Wolpert (1981).
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Rosei Yōroku
Rosei Yōroku『蘆聲要録』(ろせいようろく) is an undated collection of scores in tablature for hichiriki, dating to the 17th century (perhaps 1661) and compiled by Ōno Tadakata (多忠賢, 1625-1685 or 1686).
The collection's contents are as follows, with page numbers referring to the facsimile edition on the website of the Tokyo National Museum (note that Japanese print and online sources generally use "楽" in place of 樂):
Pieces in Yiyue Diao / Ichikotsu-chō (壹越調) (=壱越調) (=一越調) / いちこつちょう
1. Yushu Hou Ting Hua《玉樹後庭花》(Japanese: Gyokuju gotei-ka / ぎょくじゅごていか or Gyokuju kōtei-ka / ぎょくじゅこうていか) (A Jade Tree's Rear-Court Blossom), p. 4
2. Hedian《賀殿》(Japanese: Katen / かてん) - p. 5
3. Yi Jin Yue《溢金樂》(Japanese: Ikinraku / いきんらく) - p. 5
4. Niao《鳥》(Japanese: Tori / とり) (The Bird) - p. 6
5. Yi Nong Yue《一弄樂》(=《壹弄樂》) (Japanese: Ichirōraku / いちろうらく) - p. 6
8. Hui Bei Yue《廽盃樂》(Japanese: Kaibairaku / かいばいらく) - p. 8
10. Zhao Ying Yue《詔應樂》(=《韶応樂》) (Japanese: Shō-ō-raku / しょうおうらく) - p. 9
11. He Quzi《河曲子》(Japanese: Kakyokushi / かきょくし) - p. 10
12. Pusa《菩薩》(Japanese: Bosatsu / ぼさつ) - p. 10
13. Nong Qiang《弄搶》(=《弄槍》) (Japanese: Rōsō / ろうそう) - p. 11
14. Xin Luoling Wang《新羅陵王》(Japanese: Shinraryō‐ō / しんらりょうおう) - p. 12
15. Se He Niao《渋河鳥》(=《沁河鳥》) (Japanese: Shingachō / しんがちょう) - p. 12
18. Yi De Yan《一德塩》(=《壹德鹽》) (Japanese: Ittoku-en / いっとくえん) - p. 14
Pieces in Ping Diao / Hyōjō (平調 / ひょうじょう)
21. Santai《三䑓》(=《三臺》) (Japanese: Sandai / さんだい) - p. 16
23. Qing Yun Yue / Kyōunraku《慶雲樂》(きょううんらく) (Auspicious Clouds Music) - p. 18
27. Guo Tou Yue《褁頭樂》(=《裹頭樂》) (Japanese: Katōraku / かとうらく) - p. 20
28. Qian Jin Nü'er《千金女兒》(Japanese: Senkin-joji / せんきんじょじ) - p. 21
29. Chang Ming Nü'er《長命女児》(Japanese: Chōmei-joji / ちょうめいじょじ) - p. 22
30. Wu Chang Yue Po《五常樂破》(Japanese: Goshōraku Ha / ごしょうらくは) (Five Constant Virtues Music: Broaching) - p. 23
31. An Gong Shi《安弓士》(Japanese: An-kyūshi / あんきゅうし) - p. 23
Pieces in Shuang Diao / Sōjō (雙調 / そうじょう)
32. Chun Ting Yue《春庭樂》(Japanese: Shunteiraku / しゅんていらく) - p. 25
33. Niao Po《鳥破》(Japanese: ? / は?) (The Bird: Broaching) - p. 25
34. Hedian Po《賀殿破》(Japanese: Katen Ha / かてんは) - p. 26
35. Hui Bei Yue《廽盃樂》(Japanese: Kaibairaku / かいばいらく) - p. 26
Pieces in Huangzhong Diao / Ōshiki-chō (黃鐘調) (=黄鐘調) (おうしきちょう)
36. Tao Li Hua《桃李花》(Japanese: Tōrika / とうりか) - p. 28
46. Nong Dian Yue《弄殿樂》(Japanese: Rōtenraku / ろうてんらく or Rōdenraku / ろうでんらく) - p. 36
47. Lian Hua Yue《蓮華樂》(Japanese: Rengeraku / れんげらく) - p. 37
48. Fan Long Zhou《汎龍舟》(=《泛龍舟》) (Japanese: Hanryūshū / はんりゅうしゅう or Hanryōshū / はんりょうしゅう) (The Floating Dragon Boat) - p. 37
49. ?《十酔樂破》(Japanese: ? / ?) - p. 38
Pieces in Panshe Diao / Banshiki-chō (盤渉調 / ばんしきちょう)
53. Chong Ming Yue《宗明樂》(=《崇明樂》) (Japanese: Sōmeiraku / そうめいらく) - p. 43
58. Ji Ming Yue《鷄鳴樂》(=《鶏鳴樂》) (Japanese: Keimeiraku / けいめいらく) (Rooster Crowing Music) - p. 46
Pieces in Taishi Diao / Taishiki-chō (太食調 / たいしきちょう)
59. San Shou Po《散手破》(Japanese: Sanju Ha / さんじゅは) - p. 48
60. Qing Bei Yue Po《傾盃樂破》(Japanese: Keibairaku Ha / けいばいらくは) - p. 49
65. Su Fangfei《蘓芳菲》(=《蘇芳菲》) (Japanese: Sohōhi / そほうひ) - p. 52
66. Fang Ying Yue《放鷹樂》(Japanese: Hōyōraku / ほうようらく) - p. 53
67. Qin? Huang《秦皇》(Japanese: Shinkō? / しんこう?) - p. 53
68. Yin Jiu Yue《飲酒樂》(Japanese: Onjuraku / (おんじゅらく or Injuraku / いんじゅらく) (Drinking Wine Music) - p. 54
69. Huangdi Santai《皇帝三臺》(Japanese: Ō-dai Sandai / おうだいさんだい) - p. 56
70. Daoheng《道行》(Japanese: Michiyuki / みちゆき) - p. 66
72. Hedian《賀殿》(Japanese: Katen / かてん) - p. 91
73. Pusa Xu《菩薩序》(Japanese: Bosatsu Jo / ぼさつじょ) - p. 92
75. Xin Luoling Wang《新羅陵王》(Japanese: Shinraryō‐ō / しんらりょうおう) - p. 93
81. Qian Jin Nü'er《千金女児》(Japanese: Senkin-joji / せんきんじょじ) - p. 98
82. Chang Ming Nü'er《長命女児》(Japanese: Chōmei-joji / ちょうめいじょじ) - p. 98
83. ? - p. 99
84. Liu Hua ?《柳花菀》(=《柳花苑》) (Japanese: Ryūka-en / りゅうかえん) - p. 99
85. ? - p. 100
87. Tao Li Hua《桃李花》(Japanese: Tōrika / とうりか) - p. 102
90. Qian Qiu Yue《千秋樂》(Japanese: Senshūraku / せんしゅうらく) (Music of a Thousand Autumns) - p. 104
91. Jian Qi Kun Tuo《剣氣褌脱》(Japanese: Kenki-kodatsu / けんきこだつ or Kenki-kotatsu / けんきこたつ) - p. 105
92. ? - p. 105
93. ? - p. 106
94. ? - p. 106
95. ? - p. 107
96. ? - p. 107
97. ? - p. 108
98. ? - p. 109
99. ? - p. 109
101. Yong Sheng Xu《勇勝序》(Japanese: Yōjō Jo / ようじょうじょ) - p. 110
102. Song? Qiu Yue《送秋樂》(Japanese: Sōshūraku? / そうしゅうらく?) - p. 111
103. He Feng Yue《和風樂》(Japanese: Wafūraku? / わふうらく?) - p. 111
/ しょうしゅうらく
Facsimile of Rosei Yōroku from the website of the Tokyo National Museum:
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Kaichū-fu
Kaichū-fu『懐中譜』is a collection of Tang-era scores in tablature for the hichiriki, in three volumes, dating to the Edo period. It was authored by Uzumasa Kanenobu (太秦兼陳, 1673-1754), also known as Togi Kanenobu (東儀兼陳), who held the official title 従四位下内匠頭 (Junior 4th rank, Head of the Takumi 内匠 Department), and completed in the ninth month of the third year of the Kyōhō period (享保三戌九月), or 1718.
The collection's contents are as follows, with page numbers referring to the facsimile edition on the website of the Tokyo National Museum (note that Japanese print and online sources generally use "楽" in place of 樂):
Facsimile of Kaichū-fu from the website of the Tokyo National Museum:
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Hōshō-fu
Hōshō-fu『鳳笙譜』(not to be confused with other collections of the same name) is a collection of Tang-era scores in tablature for mouth organ. According to musicologist Steven G. Nelson, this collection is dated 1932, and is probably based on the official Meiji-era Tōgaku scores. It only includes a selection of popularly performed pieces.
The collection's contents are as follows, with page numbers referring to the facsimile edition on the website of the National Diet Library (note that Japanese print and online sources generally use "楽" in place of 樂):
Pieces in Yiyue Diao / Ichikotsu-chō (壹越調) (=壱越調) (=一越調) (いちこつちょう)
1. Hedian《賀殿》(Japanese: Katen / かてん) - p. 5
2. ?《迦陵頻》(Japanese: ? / ?) - p. 7
3. Hu Yin Jiu《胡飲酒》(Japanese: Konju / こんじゅ, Koinju / こいんじゅ, Koinzu / こいんず, Konzu / こんず, or Kōnju / こおんじゅ) (Sogdians Drinking Wine) - p. 9
4. Xin Luoling Wang《新羅陵王》(Japanese: Shinraryō‐ō / しんらりょうおう) - p. 10
Pieces in Ping Diao / Hyōjō (平調 / ひょうじょう)
5. ?《皇摩急》(Japanese: ? / ?) - p. 15
7. ?《三乃臺塩》(Japanese: ? / ?) - p. 18
8. Lin Ge《林歌》(Japanese: Ringa / りんが) - p. 21
11. ?《陪臚》(Japanese: ? / ?) - p. 25
12. ?《慶德》(Japanese: ? / ?) - p. 27
Pieces in Shuang Diao / Sōjō (雙調 / そうじょう)
13. ?《颯踏》(Japanese: ? / ?) - p. 31
14. ?《入破》(Japanese: ? / ?) - p. 35
16. ?《部德樂》(Japanese: ? / ?) - p. 39
Pieces in Huangzhong Diao / Ōshiki-chō (黃鐘調) (=黄鐘調) (おうしきちょう)
17. Hai Qing Yue《海青樂》(Japanese: Kaiseiraku / かいせいらく) - p. 43
19. ?《捨翠樂》(Japanese: ? / ?) - p. 47
Pieces in Panshe Diao / Banshiki-chō (盤渉調 / ばんしきちょう)
21. Bai Zhu《白柱》(Japanese: Hakuchū / はくちゅう) (The White Pillar) - p. 53
Pieces in Taishi Diao / Taishiki-chō (太食調 / たいしきちょう)
26. ?《傾盃樂》(Japanese: ? / ?) - p. 65
27. Ba Tou《拔頭》(=《抜頭》) (Japanese: Batō / ばとう) - p. 67
28. Chang Qing Zi《長慶子》(Japanese: Chōgeishi / ちょうげいし or Chōkeishi / ちょうけいし) - p. 68
Facsimile of Hōshō-fu, from the website of the National Diet Library:
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Historical reference works about the music of the Sui Dynasty
● Yiwen Leiju《艺文类聚》
A leishu encyclopedia in 47 sections and many subsections, Yiwen Leiju was completed in 624, during the early Tang Dynasty, under the supervision of the scholar Ouyang Xun (欧阳询, 557-641); other contributors included Linghu Defen (令狐德棻, 582-666) and Chen Shuda (陈叔达, 572-635). Music is discussed in several sections, and anecdotes about music from numerous previous dynasties are included.
http://www.guoxue123.com/zhibu/0201/03ywlj/index.htm
● Sui Shu《隋书》(The Book of Sui)
The official history of the Sui Dynasty (581-618), the Sui Shu was completed in 636 (actually during the early Tang Dynasty). It is one of the Twenty-Four Histories (二十四史). Music is discussed in several sections.
http://www.guoxue123.com/shibu/0101/00suisf/012.htm
http://www.guoxue123.com/shibu/0101/00suisf/013.htm
http://www.guoxue123.com/shibu/0101/00suisf/080.htmhttp://www.guoxue123.com/shibu/0101/00suisf/013.htm
http://www.guoxue123.com/shibu/0101/00suisf/082.htm
● 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 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). It contains some discussion of the music of the Sui Dynasty.
● Yuefu Shiji《乐府诗集》by Guo Maoqian (郭茂倩, 1041-1099)
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Historical reference works about the music of the Tang Dynasty
Tang-era musical reference works (none of which contain musical notation, though most include lists of tune titles) include the following:
● Yueshu Yaolu《乐书要录》(A Compilation of Treatises on Music)
A compendium of earlier writings about music, compiled by the imperial order of Empress Wu Zetian (武则天, r. 690-705), under the supervision of Yuan Wanqing (元万顷, c. 640-690), a scholar-official of the Tang Dynasty as well as Wu Zetian's short-lived Wu Zhou (武周) interregnum. Originally comprising ten chapters, the work was completed in 700 but lost soon thereafter. In 735, a copy was brought to Japan by Kibi no Makibi (吉備真備), a nobleman and scholar of the Nara period, but of this specimen, only chapters 5 through 7 have survived. Quotations and fragments from the other sections of Yueshu Yaolu may be found in several other Medieval Japanese sources.
● Jiaofang Ji《教坊记》(The Conservatory Records)
A collection of short essays by the Tang scholar Cui Lingqin (崔令钦, fl. 749)
● Tang Liu Dian《唐六典》(Tang Institutions of Six Administrative Divisions)
This work, comprising 30 chapters, was compiled by Li Linfu (李林甫) and others, and completed in 739.
http://www.guoxue123.com/shibu/0401/01tld/index.htm
http://www.guoxue123.com/shibu/0401/01tld/013.htm
This work, comprising 30 chapters, was compiled by Li Linfu (李林甫) and others, and completed in 739.
http://www.guoxue123.com/shibu/0401/01tld/index.htm
http://www.guoxue123.com/shibu/0401/01tld/013.htm
● Tongdian《通典》(Comprehensive Institutions)
Written by Tang scholar and historian Du You (杜佑, 735-812) between 766 and 801, Tongdian discusses music in its fifth section.
https://zh.wikisource.org/wiki/%E9%80%9A%E5%85%B8#.E6.A8.82.E5.85.B8
http://www.guoxue123.com/shibu/0101/01tdf/index.htm
http://www.guoxue123.com/shibu/0101/01tdf/079.htm
http://www.guoxue123.com/shibu/0101/01tdf/086.htm
http://www.guoxue123.com/shibu/0101/01tdf/141.htm
http://www.guoxue123.com/shibu/0101/01tdf/142.htm
http://www.guoxue123.com/shibu/0101/01tdf/143.htm
http://www.guoxue123.com/shibu/0101/01tdf/144.htm
http://www.guoxue123.com/shibu/0101/01tdf/145.htm
http://www.guoxue123.com/shibu/0101/01tdf/146.htmhttp://www.guoxue123.com/shibu/0101/01tdf/143.htm
http://www.guoxue123.com/shibu/0101/01tdf/144.htm
http://www.guoxue123.com/shibu/0101/01tdf/145.htm
http://www.guoxue123.com/shibu/0101/01tdf/147.htm
http://www.guoxue123.com/Shibu/0101/01tdf/193.htm
● 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.
https://zh.wikisource.org/zh/%E7%BE%AF%E9%BC%93%E9%8C%84
● Youyang Zazu《酉阳杂俎》(Miscellaneous Morsels from Youyang) A 30-volume book compiled c. 843-853 by Duan Chengshi (段成式, c. 803-863), a naturalist, poet, and official from Shandong province. It focuses on miscellany of Chinese and foreign legends and hearsay, reports on natural phenomena, short anecdotes, and tales of the wondrous and mundane, as well as notes on such topics as medicinal herbs and tattoos. The work includes a section on music in its sixth volume, and music-making and musical instruments are also mentioned in several other volumes.
樂
咸陽宮中有鑄銅人十二枚，坐皆三五尺，列在一筵上。琴築笙竽，各有所執，皆組綬花彩，儼若生人。筵下有銅管，吐口高數尺。其一管空，內有繩大如指。使一人吹空管，人紉繩，則琴瑟竽築皆作，與真樂不異。有琴長六尺，安十三弦二十六徽，皆七寶飾之，銘曰「璵璠之樂」。玉笛長二尺三寸，二十六孔，吹之則見車馬出山林，隱隱相次，息亦不見，銘曰「昭華之管」。
魏高陽王雍，美人徐月華，能彈臥箜篌，為《明妃出塞》之聲。
有田僧超，能吹笳為《壯士歌》、《項羽吟》。將軍崔延伯出師，每臨敵，令僧超為壯士聲，遂單馬入陣。
古琵琶用鵾雞股。開元中，段師能彈琵琶，用皮弦。賀懷智破撥彈之，不能成聲。
蜀將軍皇甫直，別音律，擊陶器能知時月。好彈琵琶。元和中，嘗造一調，乘涼臨水池彈之。本黃鐘而聲入蕤賓，因更弦再三奏之，聲猶蕤賓也。直甚惑，不悅，自意為不祥。隔日，又奏於池上，聲如故。試彈於他處，則黃鐘也。直因調蕤賓，夜復鳴彈於池上，覺近岸波動，有物激水如魚躍，及下弦則沒矣。直遂集客車水竭池，窮池索之。數日，泥下丈餘，得鐵一片，乃方響蕤賓鐵也。
王沂者，平生不解弦管。忽旦睡，至夜乃寤，索琵琶弦之，成數曲，一名《雀啅蛇》，一名《胡王調》，一名《胡瓜苑》，人不識聞，聽之莫不流涕。其妹請學之，乃教數聲，須臾總忘，後不成曲。
有人以猿臂骨為笛吹之，其聲清圓，勝於絲竹。琴有氣。常識一道者，相琴知吉凶。
https://zh.wikisource.org/zh-hant/%E9%85%89%E9%99%BD%E9%9B%9C%E4%BF%8E
https://ctext.org/wiki.pl?if=gb&res=985853
https://zh.wikisource.org/wiki/%E9%85%89%E9%99%BD%E9%9B%9C%E4%BF%8E/%E5%8D%B7%E5%85%AD
https://ctext.org/wiki.pl?if=gb&chapter=806884#%E6%A8%82
● Minghuang Zalu《明皇杂录》(Miscellaneous Notes About [Tang] Minghuang)
A collection of stories around the Tang emperor Xuanzong (including some discussion of music), completed c. 850 by the late Tang Dynasty scholar Zheng Chuhui (郑处诲).
https://zh.wikisource.org/wiki/%E6%98%8E%E7%9A%87%E9%9B%9C%E9%8C%84
● Yuefu Zalu《乐府杂录》(Miscellaneous Notes Regarding the Music Bureau)
A collection of small essays (biji, 笔记) by the 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.
● Xin Tang Shu《新唐书》(The New Book of Tang; generally translated as "New History of the Tang" or "New Tang History")
In the early Kaihuang era (开皇初, 581-600) of Emperor Wen of Sui (隋文帝, r. 581-604), the founding emperor of the Sui Dynasty (581-618), there was instituted a set of seven ensembles in the Sui palace at Daxing (大兴, the Sui name for Chang'an; modern-day Xi'an), called the Qi Bu Yue (七部乐, literally "Seven Musical Divisions"), which were inherited from the Fang Yue (方乐, literally "music [and dance of various] regions") of the Northern Wei Dynasty (386-534). These divisions, which performed music and accompanying dance from various Asian nations, were as follows:
Early in the reign of Emperor Yang of Sui (隋炀帝), c. 605-608, two more divisions were added, making nine divisions in total (Jiu Bu Yue, 九部乐):
The Tang Dynasty inherited the Jiu Bu Yue of Sui, adding a tenth division, Gaochang Ji (高昌伎, music/dance of Kara-Khoja), in 642 or 643, during the reign of Emperor Taizong of Tang, making ten divisions in total (Shi Bu Yue, 十部乐).
A number of Central Asian master musicians (most of whom played the pipa as their primary instrument) settled in Chang'an beginning in the Northern and Southern Dynasties period. There, they assumed the leadership of court ensembles and provided instruction to members of the royal family, and some of them even spawned musical dynasties, handing their skills down across numerous generations of noted performers through the Sui and Tang dynasties, their descendants' names recorded in multiple official histories and treatises.
These musicians include:
● Cao Poluomen (曹婆罗门; "Poluomen" being Chinese for "Brahman") - originally from Kabudhan (called Caoguo 曹国 in Chinese) northeast of Samarkand, he served as a court musician during the Northern Wei Dynasty (386-534), and many of his descendants went on to become prominent musicians; these included Cao Sengnu, Cao Miaoda, Cao Bao, Cao Shancai, Cao Gang, Cao Rou, Cao Gongfeng, Cao Sheng, Cao Shudu, Cao Zan, and Cao Shuxin ● An Weiruo (安未弱), , whose name is probably more properly spelled An Moruo (安末弱) - a Sogdian who was originally from Bukhara (called Anguo 安国 in Chinese), he was a noted court musician during the Northern Wei (386-534) and Northern Qi (550-577) dynasties; An Chinu (安叱奴) served as a court musician beginning in the early Tang period, during the reign of Emperor Gaozu (r. 618-626); other court musicians with this surname included An Wanshan (安万善), An Jixin (安髻新), and An Maju (安马驹) ● Sujiva (苏祇婆 or 苏祗婆; Sujup سۇجۇپ in Uyghur) - originally from Kucha (though perhaps of mixed ethnicity), Sujiva was a talented musician and outstanding music theorist; he accompanied his patron, the Turkic princess Ashina, to Chang'an in 568, during the Northern Zhou Dynasty (557-581), and subsequently instructed the musicians of the Chinese court in the Central Asian modal system called the Five Tunings and Seven Modes (Wu Dan Qi Diao, 五旦七調) ● Bai Mingda (白明达; native name supposedly Aqqari Manda) - originally from Kucha (most Kucheans being assigned the surname "Bai" by the Chinese), he entered China in 581, becoming a palace musician and composer for the Sui court, serving subsequently in the courts of emperors Taizong and Gaozong of the early Tang Dynasty; many of his descendants went on to have illustrious artistic careers of their own across many generations ● Pei Luo'er (裴洛儿), also known as Pei Shenfu (裴神符) - originally from Shule (疏勒, modern-day Kashgar, in the Tarim Basin of western Xinjiang), he served as a court musician during the early Tang period, probably during the reign of Emperor Taizong (r. 626-649); he was known for his innovative finger-picking technique on the pipa, as well as for his fine original compositions ● Kang Kunlun (康昆仑, fl. 780-820) - originally from Kangju (康居, Samarkand, Sogdiana); he served as a court musician during the reigns of the Tang emperors Dezong (r. 779-805) and Xianzong (r. 805-820)
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● Chinese Music from the Tang Dynasty 中國唐樂. Taipei: Crystal Records 水晶有聲出版社, n.d. [1989 or 1990]. (recording no. GN-8902). Produced by Concept Music Studio 觀念音樂製作所.
YouTube playlist for videos and recordings of Tang Dynasty music:
Bibliography
● Chen Yingshi 陈应时. Dunhuang Yuepu Jieyi Bianzheng《敦煌乐谱解译辨证》[A Dialectical Investigation of the Interpretation/Deciphering/Decoding of the Dunhuang Scores]. Shanghai: Shanghai Yinyue Xueyuan Chu Ban She 上海音乐学院出版社, 2005.
● Minghuang Zalu《明皇杂录》(Miscellaneous Notes About [Tang] Minghuang)
A collection of stories around the Tang emperor Xuanzong (including some discussion of music), completed c. 850 by the late Tang Dynasty scholar Zheng Chuhui (郑处诲).
https://zh.wikisource.org/wiki/%E6%98%8E%E7%9A%87%E9%9B%9C%E9%8C%84
● Yuefu Zalu《乐府杂录》(Miscellaneous Notes Regarding the Music Bureau)
A collection of small essays (biji, 笔记) by the 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.
● Pipa Lu《琵琶录》(Records of the Pipa)
Pipa Lu is an essay about the pipa by the scholar Duan Anjie (段安节, fl. 880-898), written near the end of the Tang Dynasty.
http://www.guoxue123.com/biji/tang/0000/016.htm
https://ctext.org/wiki.pl?if=gb&chapter=149582
● Ling Biao Lu Yi《岭表录异》(A Record of the Unusual [Things Encountered in] the Land Beyond the Mountains)
A record of the local customs, as well as aspects of the natural world, encountered in southern China (encompassing modern-day Guangdong and Guangxi) by Liu Xun (刘恂), who served as sima (司马, commandant) of the prefecture of Guangzhou during the reign of the late Tang Emperor Zhaozong (r. 888-904); this work, which includes some discussion of traditional music, was likely written during that period or soon thereafter.
https://zh.wikisource.org/wiki/%E5%B6%BA%E8%A1%A8%E9%8C%84%E7%95%B0
● Jiu Tang Shu《旧唐书》(The Old Book of Tang), also known simply as Tang Shu《唐书》(The Book of Tang)
● Jiu Tang Shu《旧唐书》(The Old Book of Tang), also known simply as Tang Shu《唐书》(The Book of Tang)
This historical work in 200 volumes was completed in 945, actually during the Later Jin (后晋) Dynasty, one of the Five Dynasties during the Five Dynasties and Ten Kingdoms (五代十国) period following the fall of the Tang Dynasty. It is one of the Twenty-Four Histories (二十四史).
http://www.guoxue123.com/shibu/0101/00jtsf/031.htm● Beimeng Suoyan《北梦琐言》(mid-10th century)
● Tang Huiyao《唐会要》(Institutional History of Tang)
This history of the Tang Dynasty, comprising 100 volumes and 514 sections, was compiled by Wang Pu (王溥, 922-982) and presented to Emperor Taizu, the founding emperor of the Song Dynasty, in 961.
http://www.guoxue123.com/shibu/0401/01thyf/index.htm
http://www.guoxue123.com/shibu/0401/01thyf/034.htm
http://www.guoxue123.com/shibu/0401/01thyf/035.htm
● 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).
● Zizhi Tongjian《资治通鉴》(Comprehensive Mirror in Aid of Governance)
This massive reference work, which took 19 years to be completed, was published in 1084, during the Northern Song Dynasty. It covers 16 dynasties of Chinese history spanning nearly 1,400 years, including the Tang Dynasty.
http://www.guoxue123.com/shibu/0101/01zztjhz/index.htm● Biji Manzhi《碧鸡漫志》
Biji Manzhi is a 5-volume commentary on lyrics and music by the scientist and poet Wang Zhuo (王灼, 1105-c. 1160), which was completed sometime in the mid-12th century, during the early Southern Song Dynasty. It traces the origins of many Tang-era yanyue pieces.
● Wenxian Tongkao《文献通考》(Comprehensive Examination of Literature)
A 348-volume work compiled by the historian and encyclopedist Ma Duanlin (马端临, 1245-1322) in 1317, during the Yuan Dynasty. The music of the Tang Dynasty is discussed in several sections.
http://www.guoxue123.com/shibu/0401/01wxtk/index.htm
http://www.guoxue123.com/shibu/0401/01wxtk/index.htm
http://www.guoxue123.com/shibu/0401/01wxtk/136.htm
http://www.guoxue123.com/shibu/0401/01wxtk/137.htm
http://www.guoxue123.com/shibu/0401/01wxtk/138.htm
http://www.guoxue123.com/shibu/0401/01wxtk/140.htm
http://www.guoxue123.com/shibu/0401/01wxtk/141.htm
http://www.guoxue123.com/shibu/0401/01wxtk/142.htm
http://www.guoxue123.com/shibu/0401/01wxtk/143.htm
http://www.guoxue123.com/shibu/0401/01wxtk/144.htm
http://www.guoxue123.com/shibu/0401/01wxtk/145.htm
http://www.guoxue123.com/shibu/0401/01wxtk/146.htm
http://www.guoxue123.com/shibu/0401/01wxtk/137.htm
http://www.guoxue123.com/shibu/0401/01wxtk/138.htm
http://www.guoxue123.com/shibu/0401/01wxtk/140.htm
http://www.guoxue123.com/shibu/0401/01wxtk/141.htm
http://www.guoxue123.com/shibu/0401/01wxtk/142.htm
http://www.guoxue123.com/shibu/0401/01wxtk/143.htm
http://www.guoxue123.com/shibu/0401/01wxtk/144.htm
http://www.guoxue123.com/shibu/0401/01wxtk/145.htm
http://www.guoxue123.com/shibu/0401/01wxtk/146.htm
http://www.guoxue123.com/shibu/0401/01wxtk/342.htm
● 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 music of the Tang Dynasty is discussed in several sections.
● 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 music of the Tang Dynasty is discussed in several sections.
● Xu Tongdian《钦定续通典》, officially called Qinding Xu Tongdian
Compiled during the Qing Dynasty, this 150-volume historical work was completed in 1783, during the reign of Emperor Qianlong. The music of the Tang Dynasty is discussed in several sections.
http://www.guoxue123.com/shibu/0401/01xtd/index.htm
http://www.guoxue123.com/shibu/0401/01xtd/index.htm
http://www.guoxue123.com/shibu/0401/01xtd/089.htm
http://www.guoxue123.com/shibu/0401/01xtd/090.htm
http://www.guoxue123.com/shibu/0401/01xtd/091.htm
http://www.guoxue123.com/shibu/0401/01xtd/093.htmhttp://www.guoxue123.com/shibu/0401/01xtd/090.htm
http://www.guoxue123.com/shibu/0401/01xtd/091.htm
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Sui and Tang court ensembles
In the early Kaihuang era (开皇初, 581-600) of Emperor Wen of Sui (隋文帝, r. 581-604), the founding emperor of the Sui Dynasty (581-618), there was instituted a set of seven ensembles in the Sui palace at Daxing (大兴, the Sui name for Chang'an; modern-day Xi'an), called the Qi Bu Yue (七部乐, literally "Seven Musical Divisions"), which were inherited from the Fang Yue (方乐, literally "music [and dance of various] regions") of the Northern Wei Dynasty (386-534). These divisions, which performed music and accompanying dance from various Asian nations, were as follows:
1. Guo Ji (国伎, banquet/entertainment music blending Chinese traditions with musics from regions on China's western border)
2. Qingshang Ji (清商伎, banquet/entertainment music of Chinese origin)
3. Gaoli Ji (高丽伎, music/dance of "Goryeo," actually originating from 5th-century court music of the Northern Yan kingdom, in what is today western Liaoning province; it may have its ultimate origins in the mid-4th-century court music of the state of Goguryeo, with its capital at Gungnae [modern-day Ji'an, Jilin province])
4. Tianzhu Ji (天竺伎, music/dance of India)
5. Anguo Ji (安国伎, music/dance of Bukhara)
6. Qiuci Ji (龟兹伎, music/dance of Kucha)
7. Wenkang Ji, later known as Libi (文康伎（即《礼毕》）, masked dance)
Early in the reign of Emperor Yang of Sui (隋炀帝), c. 605-608, two more divisions were added, making nine divisions in total (Jiu Bu Yue, 九部乐):
8. Kangguo Ji (康国伎, music/dance of Samarkand)
9. Shule Ji (疏勒伎, music/dance of the Shule kingdom with its capital at Kashgar)
Additionally, the following change was made:
The first division was changed to Qingshang (清商), and Guo Ji (国伎) was changed to Xiliang Ji (西凉伎, music/dance of Xiliang [also called Liangzhou, 涼州] in central Gansu province]).
The Tang Dynasty inherited the Jiu Bu Yue of Sui, adding a tenth division, Gaochang Ji (高昌伎, music/dance of Kara-Khoja), in 642 or 643, during the reign of Emperor Taizong of Tang, making ten divisions in total (Shi Bu Yue, 十部乐).
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Musicians of Central Asian heritage who settled in China, Northern and Southern Dynasties through Tang Dynasty
These musicians include:
● Cao Poluomen (曹婆罗门; "Poluomen" being Chinese for "Brahman") - originally from Kabudhan (called Caoguo 曹国 in Chinese) northeast of Samarkand, he served as a court musician during the Northern Wei Dynasty (386-534), and many of his descendants went on to become prominent musicians; these included Cao Sengnu, Cao Miaoda, Cao Bao, Cao Shancai, Cao Gang, Cao Rou, Cao Gongfeng, Cao Sheng, Cao Shudu, Cao Zan, and Cao Shuxin ● An Weiruo (安未弱), , whose name is probably more properly spelled An Moruo (安末弱) - a Sogdian who was originally from Bukhara (called Anguo 安国 in Chinese), he was a noted court musician during the Northern Wei (386-534) and Northern Qi (550-577) dynasties; An Chinu (安叱奴) served as a court musician beginning in the early Tang period, during the reign of Emperor Gaozu (r. 618-626); other court musicians with this surname included An Wanshan (安万善), An Jixin (安髻新), and An Maju (安马驹) ● Sujiva (苏祇婆 or 苏祗婆; Sujup سۇجۇپ in Uyghur) - originally from Kucha (though perhaps of mixed ethnicity), Sujiva was a talented musician and outstanding music theorist; he accompanied his patron, the Turkic princess Ashina, to Chang'an in 568, during the Northern Zhou Dynasty (557-581), and subsequently instructed the musicians of the Chinese court in the Central Asian modal system called the Five Tunings and Seven Modes (Wu Dan Qi Diao, 五旦七調) ● Bai Mingda (白明达; native name supposedly Aqqari Manda) - originally from Kucha (most Kucheans being assigned the surname "Bai" by the Chinese), he entered China in 581, becoming a palace musician and composer for the Sui court, serving subsequently in the courts of emperors Taizong and Gaozong of the early Tang Dynasty; many of his descendants went on to have illustrious artistic careers of their own across many generations ● Pei Luo'er (裴洛儿), also known as Pei Shenfu (裴神符) - originally from Shule (疏勒, modern-day Kashgar, in the Tarim Basin of western Xinjiang), he served as a court musician during the early Tang period, probably during the reign of Emperor Taizong (r. 626-649); he was known for his innovative finger-picking technique on the pipa, as well as for his fine original compositions ● Kang Kunlun (康昆仑, fl. 780-820) - originally from Kangju (康居, Samarkand, Sogdiana); he served as a court musician during the reigns of the Tang emperors Dezong (r. 779-805) and Xianzong (r. 805-820)
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Discography
● Approaching the Gagaku of the Japanese Dynastic Period: A Description and Musical Interpretation of Ancient Notations 王朝時代の雅楽に寄す。～古楽譜の解読と解釈 その一例～. Kyoto: Kyoto City University of Arts Research Centre for Japanese Traditional Music, 2018.
http://rcjtm.kcua.ac.jp/publications/multimedia/cd02.html
https://www.facebook.com/kcua.rcjtm/posts/2116416295291190
https://www.bilibili.com/video/av32553907/http://rcjtm.kcua.ac.jp/publications/multimedia/cd02.html
https://www.facebook.com/kcua.rcjtm/posts/2116416295291190
● Chinese Music from the Tang Dynasty 中國唐樂. Taipei: Crystal Records 水晶有聲出版社, n.d. [1989 or 1990]. (recording no. GN-8902). Produced by Concept Music Studio 觀念音樂製作所.
[A cassette containing recordings of 20 pieces of Tang Dynasty-era yanyue (燕乐 / 宴乐, court banquet/entertainment music), reconstructed from Chinese and Sino-Japanese sources by Chen Yingshi (陈应时, 1933-2020), a noted expert on the subject of Tang music, and longtime professor of musicology at the Shanghai Conservatory of Music, as well as by members of the Tang Music Project: Laurence Picken, Rembrandt Wolpert, Allan Marett, Jonathan Condit, and Elizabeth Markham. The music was performed by the Shanghai Chinese Ancient Music Ensemble (Shanghai Zhongguo Guyuetuan, 上海中国古乐团), and the recordings were made in Shanghai, China in December 1988. The dizi solos were performed by the great Yu Xunfa (俞逊发, 1946-2006), and the pipa solos were played by Yu Ling (俞岭). The female vocal solos were sung by Shen Dehao (沈德皓).]
● Dunhuang Guyue: Wei Cun De Zhengzong Zhongguo Tang Dai Yinyue: Dunhuang Yuepu Xin Yi 敦煌古樂：唯存的正宗中國唐代音樂：敦煌樂譜新譯. Lanzhou, Gansu province, China: Dunhuang Literature and Art Publishing House 敦煌文艺出版社/Gansu Audiovisual Press 甘肃音像出版社, 1992.
http://www.zsbeike.com/cd/42540190.html
https://www.youtube.com/watch?v=UPFcwNBdVbw
● Gift of Dunhuang: 25 Pieces for Pipa 敦煌曲谱：琵琶曲二十五首. China Record Co., 1984 (catalog no. HL-337). Scores deciphered by Ye Dong 叶栋; performed by Ye Xuran 叶绪然 with the Central Traditional Orchestra 中央民族乐团, dir. Wei Jun 韦俊.
https://www.youtube.com/watch?v=UPFcwNBdVbw
● Gift of Dunhuang: 25 Pieces for Pipa 敦煌曲谱：琵琶曲二十五首. China Record Co., 1984 (catalog no. HL-337). Scores deciphered by Ye Dong 叶栋; performed by Ye Xuran 叶绪然 with the Central Traditional Orchestra 中央民族乐团, dir. Wei Jun 韦俊.
● Hayashi Kenzō 林 謙三. Tenpyō, Heian jidai no ongaku: kogakugu no kaidoku ni yoru 天平・平安時代の音楽：古楽譜の解読による. Kawasaki, Japan: Columbia, 1965.
● Nelson, Steven G. "Hikyoku-zukushi" saigen『秘曲尽くし」再現』[Re-Creating the "Concert of Secret Pieces"] (CD). Part of Kyō wa ichinichi, Hōjōki『今日は一日、方丈記』[Today, A Day for Hōjōki]. Tokyo, Japan: Shintensha 新典社, 2013.
[Book with accompanying CD containing recordings of mainly solo "secret" pieces from the 12th to 13th centuries, for instruments of the gagaku ensemble]
https://www.amazon.co.jp/%E4%BB%8A%E6%97%A5%E3%81%AF%E4%B8%80%E6%97%A5%E3%80%81%E6%96%B9%E4%B8%88%E8%A8%98-%E7%A7%98%E6%9B%B2%E6%BC%94%E5%A5%8FCD%E4%BB%98-%E7%A3%AF-%E6%B0%B4%E7%B5%B5/dp/478790633X/
● Picken, Laurence. Recordings of Tang-era pieces from Sino-Japanese sources, recorded in Taipei in 1973. Collection of the Laurence Picken Archive, British Library.
http://explore.bl.uk/BLVU1:LSCOP-ALL:BLLSA6381729
http://explore.bl.uk/BLVU1:LSCOP-ALL:BLLSA6381760
http://explore.bl.uk/BLVU1:LSCOP-ALL:BLLSA6381765
● Picken, Laurence, and the Jesus College Chinese Band. Tunes from the T'ang. 7-inch LP. Pear Garden Records, n.d.
https://soas.on.worldcat.org/oclc/1391876583
https://search.worldcat.org/title/1391876583
[Book with accompanying CD containing recordings of mainly solo "secret" pieces from the 12th to 13th centuries, for instruments of the gagaku ensemble]
https://www.amazon.co.jp/%E4%BB%8A%E6%97%A5%E3%81%AF%E4%B8%80%E6%97%A5%E3%80%81%E6%96%B9%E4%B8%88%E8%A8%98-%E7%A7%98%E6%9B%B2%E6%BC%94%E5%A5%8FCD%E4%BB%98-%E7%A3%AF-%E6%B0%B4%E7%B5%B5/dp/478790633X/
● Picken, Laurence. Recordings of Tang-era pieces from Sino-Japanese sources, recorded in Taipei in 1973. Collection of the Laurence Picken Archive, British Library.
http://explore.bl.uk/BLVU1:LSCOP-ALL:BLLSA6381729
http://explore.bl.uk/BLVU1:LSCOP-ALL:BLLSA6381760
http://explore.bl.uk/BLVU1:LSCOP-ALL:BLLSA6381765
● Picken, Laurence, and the Jesus College Chinese Band. Tunes from the T'ang. 7-inch LP. Pear Garden Records, n.d.
https://soas.on.worldcat.org/oclc/1391876583
https://search.worldcat.org/title/1391876583
● Shanghai Ancient Music Ensemble 1 and 2 [cassette recordings of the Shanghai Ancient Music Ensemble performing a concert of reconstructions of Tang Music based on the work of Chen Yingshi, Allan Marett, Laurence Picken, Rembrandt Wolpert, et al.] Collection of the Pacific And Regional Archive for DIgital Sources in Endangered Cultures, Sydney Conservatorium of Music, University of Sydney, Sydney, Australia.
http://catalog.paradisec.org.au/collections/AM5/items/001
http://catalog.paradisec.org.au/collections/AM5/items/002
http://www.worldcat.org/oclc/701113224
http://www.worldcat.org/oclc/701113225 ● Sugawara, Tomoko. Along the Silk Road: Ancient and Modern Music for the Kugo. Motéma Music, 2010.
http://catalog.paradisec.org.au/collections/AM5/items/001
http://catalog.paradisec.org.au/collections/AM5/items/002
http://www.worldcat.org/oclc/701113224
http://www.worldcat.org/oclc/701113225 ● Sugawara, Tomoko. Along the Silk Road: Ancient and Modern Music for the Kugo. Motéma Music, 2010.
https://www.youtube.com/playlist?list=PL2BAB24K1ycAlHZSqfQ1vTqNcG7nJVt4U
● Sui Tang Gu Yun 隋唐古韵. 中国旅游出版社, n.d.
https://hanfangpipavalley.com/2007/08/18/music-from-the-pipa-score-of-the-tang-dynasty-translated-by-ye-dong/
● Tempyo Gafu: Music from the Silk Road. JVC, 1998.
● Betty Anne Wong & Phoenix Spring Ensemble, in collaboration with Melody of China Ensemble. In Xinjiang Time: A Dreamfield of American Eurasian Nomadic Music Performed on a Mosaic of International Instruments. 1998.
http://www.amazon.com/Xinjiang-Betty-Phoenix-Spring-Ensemble/dp/B0014C2510/
https://www.youtube.com/playlist?list=OLAK5uy_nVTYmm24CcNuhy0LX3KUMg2zjmaAzJ1RA
● Wu Man, with guest appearances by the Kronos Quartet. Immeasurable Light. Traditional Crossroads, 2010.
YouTube playlist for videos and recordings of Tang Dynasty music:
----------------------------------------------
Filmography
● "Notated Sources of Tang Dynasty Music and Its Reconstructive Performance," a lecture by Dr. Zhao Weiping (Professor of Music, Shanghai Conservatory of Music), Confucius Institute at the University of Michigan, Ann Arbor, Michigan, United States, Friday, March 10, 2017.
● On the Road to Tang (dir. Tom Knott, 2003). 74 min.
----------------------------------------------
Bibliography
● Chen Yingshi 陈应时. Dunhuang Yuepu Jieyi Bianzheng《敦煌乐谱解译辨证》[A Dialectical Investigation of the Interpretation/Deciphering/Decoding of the Dunhuang Scores]. Shanghai: Shanghai Yinyue Xueyuan Chu Ban She 上海音乐学院出版社, 2005.
● Currie, Gabriela, and Lars Christensen. Eurasian Musical Journeys: Five Tales. Cambridge Elements: Elements in the Global Middle Ages, ed. Geraldine Heng and Susan Noakes. Cambridge: Cambridge University Press, 2022.
https://www.cambridge.org/core/books/eurasian-musical-journeys/E4DC6E746EDCE8773A8EF80262A35DF0
https://books.google.com/books?id=-tNsEAAAQBAJ
● Garfias, Robert. Gagaku: The Music and Dances of the Japanese Imperial Household. New York: Theatre Arts Books, 1959.
https://www.academia.edu/33335897/Gagaku-1959-Program-022.pdf
● Garfias, Robert. Music of a Thousand Autumns: The Tōgaku Style of Japanese Court Music. Berkeley and Los Angeles: University of California Press, 1975. https://books.google.com/books?id=XZFFgXoLUwkC
https://www.academia.edu/33335897/Gagaku-1959-Program-022.pdf
● Garfias, Robert. Music of a Thousand Autumns: The Tōgaku Style of Japanese Court Music. Berkeley and Los Angeles: University of California Press, 1975. https://books.google.com/books?id=XZFFgXoLUwkC
● Gimm, Martin. Das Yüeh-fu tsa-lu des Tuan An-chieh. Studien zur Geschichte von Musik, Schauspiel und Tanz der T'ang Dynastie. Wiesbaden: Harrassowitz, 1966. Asiatische Forschungen 19.
● Hughes, David W. "The Picken School and East Asia: China, Japan and Korea." Ethnomusicology Forum, vol. 19, no. 2 (November 2010), pp. 231-239.
● Hayashi Kenzō 林 谦三. Dunhuang Pipa Pu De Jiedu Yanjiu《敦煌琵琶谱的解读研究》. Shanghai: Shanghai Music Publishing House 上海音乐出版社, 1957.
● Hayashi Kenzō 林 谦三. Dunhuang Pipa Pu De Jiedu Yanjiu《敦煌琵琶谱的解读研究》. Shanghai: Shanghai Music Publishing House 上海音乐出版社, 1957.
● Hayashi Kenzō 林 谦三; translated into Chinese by Guo Moruo 郭沫若. Sui-Tang Yanyuediao Yanjiu《隋唐燕樂調硏究》[A Study of Yanyue Tunes in the Sui and Tang Dynasties]. Shanghai: Shangwu Yin Shuguan 商務印書館, 1936.
● Liu Chongde 刘崇德, ed. Xiancun Riben Tang Yue Qupu Shi Zhong《现存日本唐乐古谱十种》. Hefei: Huangshan Shushe 黄山书社 [Huangshan Publishing House], 2013.
● Liu Chongde 刘崇德. Tang-Song Yue Gu Pu Lei Cun《唐宋乐古谱类存》. 3 volumes. Hefei: Huangshan Shushe 黄山书社 [Huangshan Publishing House], 2016.
● Marett, Allan. "Hakuga's Flute-Score: A Tenth-Century Japanese Source of 'Tang-Music' in Tablature." Ph.D. dissertation. Cambridge: University of Cambridge, 1976.
● Marett, Allan. "Tunes Notated in Flute-Tablature from a Japanese Source of the Tenth Century." Musica Asiatica, vol. 1 (1977), pp. 1-59.
https://www.amazon.com/dp/0193232340/
● Marett, Allan. "Research on Early Notations for the History of Tōgaku and Points of Scholarly Contention in Their Interpretation." Yearbook for Traditional Music, vol. 38 (2006), pp. 79-95.
● Marett, Allan. "'Banshiki Sangun' and 'Shōenraku': Metrical Structure and Notation of Two Tang-Music Melodies for Flute." In Music and Tradition: Essays on Asian and Other Musics Presented to Laurence Picken; ed. D. R. Widdess and R. F. Wolpert (Cambridge: Cambridge University Press, 1981), pp. 41-68.
https://www.amazon.com/Music-Tradition-Essays-Presented-Laurence/dp/052110596X
● Marett, Allan. "Tōgaku: Where Have the Tang Melodies Gone, and Where Have the New Melodies Come From? Ethnomusicology, vol. 29, no. 3 (Autumn 1985), pp. 409-431.
https://www.jstor.org/stable/851797● Marett, Allan. "Tōgaku: Where Have the Tang Melodies Gone, and Where Have the New Melodies Come From? Ethnomusicology, vol. 29, no. 3 (Autumn 1985), pp. 409-431.
● Marett, Allan. "Research on Early Notations for the History of Tōgaku and Points of Scholarly Contention in Their Interpretation." Yearbook for Traditional Music, vol. 38 (2006), pp. 79-95.
https://www.jstor.org/stable/20464973
● Markham, Elizabeth. Saibara: Japanese Court Songs of the Heian Period. 2 vols. Cambridge: Cambridge University Press, 1983.
https://www.cambridge.org/us/academic/subjects/music/ethnomusicology/saibara-japanese-court-songs-heian-period-volume-1
https://www.cambridge.org/us/academic/subjects/music/ethnomusicology/saibara-japanese-court-songs-heian-period-volume-2
https://www.amazon.com/Saibara-Japanese-Court-Period-complete/dp/B005FWS1UO/
https://www.cambridge.org/us/academic/subjects/music/ethnomusicology/saibara-japanese-court-songs-heian-period-volume-1
https://www.cambridge.org/us/academic/subjects/music/ethnomusicology/saibara-japanese-court-songs-heian-period-volume-2
https://www.amazon.com/Saibara-Japanese-Court-Period-complete/dp/B005FWS1UO/
https://www.amazon.com/Saibara-Japanese-Court-Songs-Period/dp/0521245834/
https://www.amazon.com/Saibara-Music-Japanese-Court-Period/dp/0521245842/
● Markham, Elizabeth, Naoko Terauchi, and Rembrandt Wolpert (translated, edited, and with prefaces and a postface by). What the Doctor Overheard: Dr. Leopold Müller's Account of Music in Early Meiji Japan. Ithaca, New York: East Asia Program, Cornell University, 2017.
https://www.cornellpress.cornell.edu/book/9781939161659/what-the-doctor-overheard/
https://www.cornellpress.cornell.edu/book/9781939161659/what-the-doctor-overheard/
● Nelson, Steven G. スティーヴン・G・ネルソン. "Gogen-fu shinkō: Omo ni gogen-biwa no jūsei oyobi chōgen ni tsuite"「五絃譜新考一主に五絃琵琶の柱制及び調絃について一」 [The Gogen-fu, a Japanese Heian-Period Tablature Score for Five-Stringed Lute: Concentrating on the Fret System and Tunings of the Instrument]. Tōyō ongaku kenkyū 『東洋音楽研究』[Journal of the Society for Research in Asiatic Music], vol. 50 (1986): pp. 13-76. [Contains a detailed English summary of sections 4 through 9.]
● Nelson, Steven G. "Issues in the Interpretation of Notation for East Asian Lutes (Pipa/Biwa) as Preserved in Scores of the Eighth to Twelfth Centuries." Nihon Ongakushi Kenkyū: Studies in the Historiography of Japanese Music, vol. 8 (September 2012), pp. 1-41.● Nelson, Steven G. スティーヴン・G・ネルソン. "Kōshakufu no kigen o megutte: tōdai no mojifu to no kankei"「工尺譜の起源をめぐって ー唐代の文字譜との関係ー」[In Search of the Origins of Gongche Notation: Its Relationship with Tablature Notations of the Tang Period]. In Ronshū Bungaku to ongakushi: Shiika kangen no sekai『論集 文学と音楽史 ー詩歌管絃の世界ー』[A Collection of Essays on Literature and Music History: The World of Poetry and Music], ed. Iso Mizue 磯水絵編 (Osaka: Izumi Shoin 和泉書院, June 2013, pp. 65-93).
● Nelson, Steven G. スティーヴン・G・ネルソン. "'Hikyoku-zukushi' saigen: Bunki-dan ni mieru hikyoku o kiku"「「秘曲尽くし」再現 一『文机談』に見える秘曲を聞く一」[Re-Creating Kamo no Chōmei’s Concert of Gagaku 'Secret Pieces': The Instrumental Pieces Mentioned in Bunki-dan]. In the book that accompanies the book/CD set Kyō wa ichinichi, Hōjōki 『今日は一日、方丈記』[Today, A Day for Hōjōki], pp. 206-222. Tokyo, Japan: Shintensha 新典社, 2013.
[Book with accompanying CD containing recordings of mainly solo "secret" pieces from the 12th to 13th centuries, for instruments of the gagaku ensemble]
https://www.amazon.co.jp/%E4%BB%8A%E6%97%A5%E3%81%AF%E4%B8%80%E6%97%A5%E3%80%81%E6%96%B9%E4%B8%88%E8%A8%98-%E7%A7%98%E6%9B%B2%E6%BC%94%E5%A5%8FCD%E4%BB%98-%E7%A3%AF-%E6%B0%B4%E7%B5%B5/dp/478790633X/
https://www.amazon.co.jp/%E4%BB%8A%E6%97%A5%E3%81%AF%E4%B8%80%E6%97%A5%E3%80%81%E6%96%B9%E4%B8%88%E8%A8%98-%E7%A7%98%E6%9B%B2%E6%BC%94%E5%A5%8FCD%E4%BB%98-%E7%A3%AF-%E6%B0%B4%E7%B5%B5/dp/478790633X/
● Nelson, Steven G. "Reconstructing Solo Pieces for Biwa (Lute) of Eighth to Thirteenth-Century Japan." Bulletin of the Faculty of Letters, Hosei University, vol. 77 (2018), pp. 13-36.
● Nelson, Steven G. 「正倉院文書紙背「琵琶譜」、いわゆる『天平琵琶譜』に関する一考察」（福島和夫編『歴史学としての日本音楽史研究』. 大阪：和泉書院、2022年7月, pp. 91-136.
● Ng, Kwok Wai. "The Modes of Tôgaku from Tang-Period China to Modern Japan: Focusing on the Ôshikichô, Banshikichô and Hyôjô Modal Categories." Ph.D. dissertation. Sydney: University of Sydney, 2007.
https://ses.library.usyd.edu.au/bitstream/2123/8716/1/THE_MODES_OF_T%C3%94GAKU_FROM_TANG_PERIOD_CHINA_TO_MODERN_VOL_1.pdf
https://ses.library.usyd.edu.au/bitstream/2123/8716/2/THE_MODES_OF_T%C3%94GAKU_FROM_TANG_PERIOD_CHINA_TO_MODERN_VOL_2.pdf
● Ng, Kwok-Wai. "In Search of the Historical Development of Double-Reed Pipe Melodies in Japanese Tōgaku: Early Hypotheses and New Perspectives." Asian Music, vol. 42, no. 2 (Summer/Fall 2011), pp. 88-111.
https://www.jstor.org/stable/41307914
● Nickson, Noël. "A Realization in Japan of an Instrumental Suite from Tang China: A Summary Review." In Sound and Reason: Music and Essays in Honour of Gordon D. Spearritt, ed. Warren A. Bebbington. Brisbane: Faculty of Music, University of Queensland, 1992, pp. 38-48. https://catalogue.nla.gov.au/Record/2131316
● Nickson, Noël, and Laurence Picken (compiled, collated, and edited by). The Emperor Destroys the Formations / Huang-di pozhen-yue/Odai hajin-raku, in Three Movements, Transcribed from the Earliest Sources for di, guan, sheng, zheng and pipa (score and parts). Sydney: Department of Music, University of Western Sydney, 1995. https://search.library.uq.edu.au/primo-explore/fulldisplay?docid=61UQ_ALMA2196374400003131&context=L&vid=61UQ&search_scope=61UQ_All&tab=61uq_all&lang=en_US https://search.library.uq.edu.au/primo-explore/fulldisplay?docid=61UQ_ALMA21101916840003131&context=L&vid=61UQ&search_scope=61UQ_All&tab=61uq_all&lang=en_US ● Picken, L. E. R. "The Musical Implications of Chinese Song-Texts with Unequal Lines, and the Significance of Nonsense-Syllables, with Special Reference to Art-Songs of the Song Dynasty." Musica Asiatica, vol. 3 (1981), pp. 53-77. https://www.amazon.com/Musica-Asiatica-III-v-3/dp/0193232367 ● Picken, L. E. R. "T'ang Music and Musical Instruments." T'oung Pao, Second Series, vol. 55, Livr. 1/3 (1969), pp. 74-122.
● Wolpert, R. F. "A Ninth-Century Sino-Japanese Lute Tutor." Musica Asiatica, vol. 1 (1977), pp. 111-165.
https://www.amazon.com/dp/0193232340/
● Wolpert, Rembrandt. "Tang-Music (Tōgaku) Manuscripts for Lute and Their Interrelationships." In Music and Tradition: Essays on Asian and Other Musics Presented to Laurence Picken; ed. D. R. Widdess and R. F. Wolpert (Cambridge: Cambridge University Press, 1981), pp. 69-121.
https://www.amazon.com/Music-Tradition-Essays-Presented-Laurence/dp/052110596X
● Wolpert, R. F. "The Five-Stringed Lute in East Asia." Musica Asiatica, vol. 3 (1981), pp. 97-106. https://www.amazon.com/Musica-Asiatica-III-v-3/dp/0193232367
● Nickson, Noël. "A Realization in Japan of an Instrumental Suite from Tang China: A Summary Review." In Sound and Reason: Music and Essays in Honour of Gordon D. Spearritt, ed. Warren A. Bebbington. Brisbane: Faculty of Music, University of Queensland, 1992, pp. 38-48. https://catalogue.nla.gov.au/Record/2131316
● Nickson, Noël, and Laurence Picken (compiled, collated, and edited by). The Emperor Destroys the Formations / Huang-di pozhen-yue/Odai hajin-raku, in Three Movements, Transcribed from the Earliest Sources for di, guan, sheng, zheng and pipa (score and parts). Sydney: Department of Music, University of Western Sydney, 1995. https://search.library.uq.edu.au/primo-explore/fulldisplay?docid=61UQ_ALMA2196374400003131&context=L&vid=61UQ&search_scope=61UQ_All&tab=61uq_all&lang=en_US https://search.library.uq.edu.au/primo-explore/fulldisplay?docid=61UQ_ALMA21101916840003131&context=L&vid=61UQ&search_scope=61UQ_All&tab=61uq_all&lang=en_US ● Picken, L. E. R. "The Musical Implications of Chinese Song-Texts with Unequal Lines, and the Significance of Nonsense-Syllables, with Special Reference to Art-Songs of the Song Dynasty." Musica Asiatica, vol. 3 (1981), pp. 53-77. https://www.amazon.com/Musica-Asiatica-III-v-3/dp/0193232367 ● Picken, L. E. R. "T'ang Music and Musical Instruments." T'oung Pao, Second Series, vol. 55, Livr. 1/3 (1969), pp. 74-122.
● Picken, Laurence. "Central Asian Tunes in the Gagaku Tradition." Festschrift für Walter Wiora, zum 30. Dezember 1966 (Kassel: Bärenreiter, 1967), pp. 545-551.
● Picken, Laurence. "'Medieval' Musics of Asia." Proceedings of the Royal Musical Association, vol. 104 (1977-1978), pp. 57-66.
● Picken, Laurence. "Tang Music and Music of the Song Dynasty." Lectures for SNU. Minjok Eumakhak 민족음악학 (民族音樂學) [Ethnomusicology, published by the Asian Music Research Institute, Seoul National University College of Music 서울대학교 음악대학 동양음악연구소], vol. 12 (1990), pp. 13-24.
http://s-space.snu.ac.kr/handle/10371/86836
● Picken, Laurence, ed., with Rembrandt Wolpert, Allan Marett, Jonathan Condit, Elizabeth Markham, and Yōko Mitani. Music from the Tang Court, vol. 1. London: Oxford University Press, 1981.
https://tinyurl.com/y7fzkm2b
● Laurence Picken, ed., with Rembrandt F. Wolpert, Allan J. Marett, Jonathan Condit, and Elizabeth J. Markham, and with Yōko Mitani and Noël J. Nickson. Music from the Tang Court, vol. 2. Cambridge: Cambridge University Press, 1985.
● Laurence Picken, ed., with Rembrandt F. Wolpert, Allan J. Marett, Jonathan Condit, and Elizabeth J. Markham, and with Yōko Mitani and Noël J. Nickson. Music from the Tang Court, vol. 2. Cambridge: Cambridge University Press, 1985.
● Laurence Picken, ed., with Rembrandt F. Wolpert, Allan J. Marett, Jonathan Condit, and Elizabeth J. Markham, and with Yōko Mitani and Noël J. Nickson. Music from the Tang Court, vol. 3. Cambridge: Cambridge University Press, 1985.
http://services.cambridge.org/us/academic/subjects/music/ethnomusicology/music-tang-court-volume-3
https://www.amazon.com/Music-Tang-Court-Laurence-Picken/dp/0521278384
● Laurence Picken, ed., with Rembrandt F. Wolpert, Allan J. Marett, Jonathan Condit, and Elizabeth J. Markham, and with Yōko Mitani and Noël J. Nickson. Music from the Tang Court, vol. 4. Cambridge: Cambridge University Press, 1987.
https://www.amazon.com/Music-Tang-Court-Laurence-Picken/dp/0521278384
● Laurence Picken, ed., with Rembrandt F. Wolpert, Allan J. Marett, Jonathan Condit, and Elizabeth J. Markham, and with Yōko Mitani and Noël J. Nickson. Music from the Tang Court, vol. 4. Cambridge: Cambridge University Press, 1987.
https://www.amazon.com/Music-Tang-Court-Unpublished-Sino-Japanese/dp/B00Y30YFRC/
● Laurence Picken and Noël J. Nickson, eds., with Rembrandt F. Wolpert, Allan J. Marett, Elizabeth J. Markham, Yōko Mitani, and Stephen Jones. Music from the Tang Court, vol. 5. Cambridge: Cambridge University Press, 1990.
● Laurence Picken and Noël J. Nickson, eds., with Rembrandt F. Wolpert, Allan J. Marett, Elizabeth J. Markham, Yōko Mitani, and Stephen Jones. Music from the Tang Court, vol. 5. Cambridge: Cambridge University Press, 1990.
http://services.cambridge.org/us/academic/subjects/music/ethnomusicology/music-tang-court-volume-5
https://www.amazon.com/Music-Tang-Court-Unpublished-Sino-Japanese/dp/B00Y30YA4A/
https://www.amazon.com/Music-Tang-Court-Unpublished-Sino-Japanese/dp/B00Y30YA4A/
● Picken, Laurence E. R. and Noël J. Nickson, eds., with Rembrandt F. Wolpert, Allan J. Marett, Elizabeth J. Markham, Stephen Jones, and Yōko Mitani. Music from the Tang Court, vol. 6. Cambridge: Cambridge University Press, 1997.
https://www.cambridge.org/us/academic/subjects/music/ethnomusicology/music-tang-court-volume-6
https://www.cambridge.org/us/academic/subjects/music/ethnomusicology/music-tang-court-volume-6
https://www.amazon.com/Music-Tang-Court-Laurence-Picken/dp/0521621003
● Picken, Laurence E. R. and Noël J. Nickson, eds., with Nicholas Gray, Okamoto Miyoko, and Robert Walker. Music from the Tang Court, vol. 7: Some Ancient Connections Explored. Cambridge: Cambridge University Press, 2000. https://www.cambridge.org/us/academic/subjects/music/ethnomusicology/music-tang-court-some-ancient-connections-explored-volume-7
● Picken, Laurence E. R. and Noël J. Nickson, eds., with Nicholas Gray, Okamoto Miyoko, and Robert Walker. Music from the Tang Court, vol. 7: Some Ancient Connections Explored. Cambridge: Cambridge University Press, 2000. https://www.cambridge.org/us/academic/subjects/music/ethnomusicology/music-tang-court-some-ancient-connections-explored-volume-7
https://www.amazon.com/Music-Tang-Court-Connections-Explored/dp/0521780845/
● Picken, L.E.R., and R. F. Wolpert. "Mouth-Organ and Lute Parts of Tōgaku and Their Interrelationships." Musica Asiatica, vol. 3 (1981), pp. 79-95.
https://www.amazon.com/Musica-Asiatica-III-v-3/dp/0193232367
● Picken, Laurence, and Kenneth Pont, arr. Ancient Chinese Tunes: Nine Pieces for Recorders, Tuned Percussion, Rhythmic Percussion, Plucked Strings, Guitar, and Optional Clarinets in B Flat. London: Oxford University Press, 1973.
https://trove.nla.gov.au/work/13114346
● Qiu Xieyou 邱燮友. Tangdai Minjian Geyao《唐代民间歌谣》. Taipei: Wu-Nan Book Inc. 五南图书出版股份有限公司, 2016.
https://books.google.com/books/about/%E5%94%90%E4%BB%A3%E6%B0%91%E9%96%93%E6%AD%8C%E8%AC%A0.html?id=D3l_AQAACAAJ
https://books.google.com/books/about/%E5%94%90%E4%BB%A3%E6%B0%91%E9%96%93%E6%AD%8C%E8%AC%A0.html?id=D3l_AQAACAAJ
● Schafer, Edward H. The Golden Peaches of Samarkand: A Study of T'ang Exotics. Berkeley: University of California Press, 1963. https://www.ucpress.edu/book/9780520054622/the-golden-peaches-of-samarkand
● Tokita, Alison McQueen and David W. Hughes. The Ashgate Research Companion to Japanese Music. Aldershot, England: 2017. Relevant chapters: "Context and Change in Japanese music" by Alison McQueen Tokita and David W. Hughes (pp. 1-34); and "Court and Buddhist Music (1): History of Gagaku and Shōmyō" (pp. 35-48) and "Court and Buddhist Music (2): Music of Gagaku and Shōmyō" (pp. 49-76) by Steven G. Nelson.
● Tokita, Alison McQueen and David W. Hughes. The Ashgate Research Companion to Japanese Music. Aldershot, England: 2017. Relevant chapters: "Context and Change in Japanese music" by Alison McQueen Tokita and David W. Hughes (pp. 1-34); and "Court and Buddhist Music (1): History of Gagaku and Shōmyō" (pp. 35-48) and "Court and Buddhist Music (2): Music of Gagaku and Shōmyō" (pp. 49-76) by Steven G. Nelson.
● Wang, Li (Ally). The Peak Time of Entertainment in China: A Study of the Jiaofang During the Tang Dynasty (618-907 AD). Newcastle upon Tyne: Cambridge Scholars Publishing, 2020.
● Wang Xiaodun, Sun Xiaohui, and Chang Shijun. "Yuebu of the Tang Dynasty: Musical Transmission from the Han to the Early Tang Dynasty." Yearbook for Traditional Music, vol. 36 (2004), pp. 50-64.
https://www.amazon.com/dp/0193232340/
● Wolpert, Rembrandt. "Tang-Music (Tōgaku) Manuscripts for Lute and Their Interrelationships." In Music and Tradition: Essays on Asian and Other Musics Presented to Laurence Picken; ed. D. R. Widdess and R. F. Wolpert (Cambridge: Cambridge University Press, 1981), pp. 69-121.
https://www.amazon.com/Music-Tradition-Essays-Presented-Laurence/dp/052110596X
● Wolpert, R. F. "The Five-Stringed Lute in East Asia." Musica Asiatica, vol. 3 (1981), pp. 97-106. https://www.amazon.com/Musica-Asiatica-III-v-3/dp/0193232367
● Wolpert, R. F. "A Ninth-Century Score for Five-Stringed Lute." Musica Asiatica, vol. 3 (1981), pp. 107-135.
● Wolpert, Rembrandt F. "Frogs, More Frogs..." In XXIV. Deutscher Orientalistentag vom 26. bis 30. September 1988 in Köln: Ausgewählte Vorträge (Zeitschrift der Deutschen Morgenländischen Gesellschaft. Supplement) (1990), pp. 497-506.
● Wolpert, Rembrandt F. "Editing 'Tang Music' for Posterity." In Ad Seres et Tungusos: Festschrift für Martin Gimm; ed. Lutz Bieg, Erling von Mende, and Martina Siebert. Opera Sinologica 11. (Wiesbaden: Harrassowitz Verlag, 2000), pp. 509-520.
● Wolpert, Rembrandt F. "Táng Music Theory of Ritual Calendrical Transposition Applied." CHIME: Journal of the European Foundation for Chinese Music Research, nos. 18/19 (2013), pp. 67-82.
https://issuu.com/yunglie/docs/chime_magazine_18_19
● Wolpert, Rembrandt; Allan Marett; Jonathan Condit, and Laurence Picken. "'The Waves of Kokonor': A Dance-Tune of the T'ang Dynasty." Asian Music, vol. 5, no. 1, Chinese Music Issue (1973), pp. 3-9.
● Yang Yuanzheng 楊元錚. "A Tale of Two Manuscripts: The Making and Origins of the Earliest Scrolls of Qin Music." Acta Musicologica vol. 86, no. 1 (2014), pp. 31-73.
In 2016 Zhao co-founded a related organization, the Shanghai Conservatory of Music He Luting Chinese Music Institute for Advanced Research Chinese and East Asian Ancient Scores Research Center (上海音乐学院贺绿汀中国音乐高等研究院·中国与东亚古谱研究中心). This center has so far collected nearly 20,000 pages of musical notations dating from the pre-Tang through Qing dynasties, and shares some of them via a Web platform/database, which was launched in 2018:
https://ceanotation.shcmusic.edu.cn/strongly/index.jsp
● List of piece titles in the Sino-Japanese repertoire (1):
https://lapis.nichibun.ac.jp/kojiruien/bumon/gaku.html
● List of piece titles in the Sino-Japanese repertoire (2):
Tang-era poems about music
● 雅樂 = gagaku (ががく) / yayue - Japanese court music, largely originating from court banquet music of China and Korea
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Thanks to Julien Baley, Zach Berge-Becker, Darren Davies, David Dettmann, Ash Henson, Patrick Huang, Michael Kong, Alan Lau, Bin Li, Steven G. Nelson, John Renfroe, Reinhard Straub, Gerald Veltias, Keith Wong, Esther Xiao Jia Jia, and Yanagita Tokinori for assistance with this page.
● Ye Dong 叶栋. Dunhuang Qupu Yanjiu《敦煌曲谱研究》
[Research on the Dunhuang Music Scores]. Unknown publisher, 1981.
● Ye Dong 叶栋. Tangdai Yinyue Yu Gu Pu Yi Du《唐代音乐与古谱译读》. Xi'an: Shaanxi Sheng Shehui Kexueyuan Chuban Faxing Shi 陕西省社会科学院出版发行室, 1985.
http://www.guoxue.com/tangyanjiu/xszz/tdyy/tdyy.htm
● Ye Dong 叶栋. Dunhuang Pipa Qupu《敦煌琵琶曲谱》. Shanghai: Shanghai Wenyi Chubanshe 上海文艺出版社, 1986.
● Ye Dong 叶栋. Tang Yue Gu Pu Yi Du《唐乐古谱译读》. Shanghai: Shanghai Music Publishing House, 2001.
http://www.jianpu.cn/book/4/4327.htm
● Zhao Weiping 赵维平, ed. Di Shi'er Jie Zhong-Ri Yinyue Bijiao Xueshu Yantaohui Lunwen Ji《第十二届中日音乐比较学术研讨会论文集》(Proceedings of the 12th Sino-Japanese Music Comparative Academic Conference). Shanghai: Shanghai Conservatory of Music Press 上海音乐学院出版社, 2019.
https://www.amazon.com/%E7%AC%AC%E5%8D%81%E4%BA%8C%E5%B1%8A%E4%B8%AD%E6%97%A5%E9%9F%B3%E4%B9%90%E6%AF%94%E8%BE%83%E5%AD%A6%E6%9C%AF%E7%A0%94%E8%AE%A8%E4%BC%9A%E8%AE%BA%E6%96%87%E9%9B%86-%E5%8C%BF%E5%90%8D/dp/7556604136
https://books.google.com/books/about/%E7%AC%AC%E5%8D%81%E4%BA%8C%E5%B1%8A%E4%B8%AD%E6%97%A5%E9%9F%B3%E4%B9%90%E6%AF%94%E8%BE%83%E5%AD%A6%E6%9C%AF%E7%A0%94.html?id=rsNNzQEACAAJ
● Ye Dong 叶栋. Dunhuang Pipa Qupu《敦煌琵琶曲谱》. Shanghai: Shanghai Wenyi Chubanshe 上海文艺出版社, 1986.
● Ye Dong 叶栋. Tang Yue Gu Pu Yi Du《唐乐古谱译读》. Shanghai: Shanghai Music Publishing House, 2001.
http://www.jianpu.cn/book/4/4327.htm
● Zhao Weiping 赵维平, ed. Di Shi'er Jie Zhong-Ri Yinyue Bijiao Xueshu Yantaohui Lunwen Ji《第十二届中日音乐比较学术研讨会论文集》(Proceedings of the 12th Sino-Japanese Music Comparative Academic Conference). Shanghai: Shanghai Conservatory of Music Press 上海音乐学院出版社, 2019.
https://www.amazon.com/%E7%AC%AC%E5%8D%81%E4%BA%8C%E5%B1%8A%E4%B8%AD%E6%97%A5%E9%9F%B3%E4%B9%90%E6%AF%94%E8%BE%83%E5%AD%A6%E6%9C%AF%E7%A0%94%E8%AE%A8%E4%BC%9A%E8%AE%BA%E6%96%87%E9%9B%86-%E5%8C%BF%E5%90%8D/dp/7556604136
https://books.google.com/books/about/%E7%AC%AC%E5%8D%81%E4%BA%8C%E5%B1%8A%E4%B8%AD%E6%97%A5%E9%9F%B3%E4%B9%90%E6%AF%94%E8%BE%83%E5%AD%A6%E6%9C%AF%E7%A0%94.html?id=rsNNzQEACAAJ
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Other links
● Website of the Shanghai Conservatory's Sino-Japanese Music Culture Research Center (上海音乐学院中日音乐文化研究中心), which was established in 2005 and directed by musicologist Dr. Zhao Weiping (赵维平, b. 1957):
In 2016 Zhao co-founded a related organization, the Shanghai Conservatory of Music He Luting Chinese Music Institute for Advanced Research Chinese and East Asian Ancient Scores Research Center (上海音乐学院贺绿汀中国音乐高等研究院·中国与东亚古谱研究中心). This center has so far collected nearly 20,000 pages of musical notations dating from the pre-Tang through Qing dynasties, and shares some of them via a Web platform/database, which was launched in 2018:
https://ceanotation.shcmusic.edu.cn/strongly/index.jsp
● Website of the Center for the Study of Early Asian and Middle Eastern Musics at the J. William Fulbright College of Arts and Sciences, University of Arkansas, Fayetteville, Arkansas, United States, which was established in 2000 and directed by musicologist Dr. Rembrandt Wolpert:
https://catalog.uark.edu/generalinfo/universitycentersandresearchunits/internationalcenterforthestudyofearlyasianandmiddleeasternmusics/
● Website and Facebook page of the Research Centre for Japanese Traditional Music at the Kyoto City University of Arts, Kyoto, Japan (京都市立芸術大学日本伝統音楽研究センター), which has since approximately 2014 worked to create historically informed reconstructions of Tang-era music from Sino-Japanese sources:
http://w3.kcua.ac.jp/jtm/index.html
● Website and Facebook page of the Research Centre for Japanese Traditional Music at the Kyoto City University of Arts, Kyoto, Japan (京都市立芸術大学日本伝統音楽研究センター), which has since approximately 2014 worked to create historically informed reconstructions of Tang-era music from Sino-Japanese sources:
http://w3.kcua.ac.jp/jtm/index.html
● List of piece titles in the Sino-Japanese repertoire (1):
● List of piece titles in the Sino-Japanese repertoire (2):
● List of piece titles in the Sino-Japanese repertoire (3):
● List of piece titles in Jinchi Yoroku:
● Laurence Picken Papers (at the Library of Congress):
https://tinyurl.com/y689mys6 (finding aid)
● Laurence Picken collection (at Jesus College, University of Cambridge):
https://collegecollections.jesus.cam.ac.uk/index.php/laurence-picken
● Laurence Picken Archive (audio materials at the British Library)
● Allan Marett Papers (at the National Library of Australia):
https://nla.gov.au/nla.obj-1135692072/findingaid
● Allan Marett website:
https://allanmarett.com/
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Tang-era poems about music
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Glossary/miscellaneous other information
● 雅樂 = gagaku (ががく) / yayue - Japanese court music, largely originating from court banquet music of China and Korea
https://kotobank.jp/word/%E9%9B%85%E6%A5%BD-43291
● 燕樂 or 宴樂 = yanyue / engaku (えんがく) - banquet music https://kotobank.jp/word/%E7%87%95%E6%A5%BD-447379
● 燕樂 or 宴樂 = yanyue / engaku (えんがく) - banquet music https://kotobank.jp/word/%E7%87%95%E6%A5%BD-447379
● 舞樂 = wu yue / bugaku (ぶがく) - Japanese court dance (and) music, largely originating from court banquet dance and music of China and Korea
● 唐樂 (Tang yue; Japanese: Tōgaku / とうがく) - Japanese court music, largely originating from court banquet music of China
● 高麗樂 = Gaoli yue / Komagaku (こまがく) - Japanese court music, largely originating from court banquet music of Korea
● 伎樂 = jiyue / gigaku (ぎがく) - a now-extinct genre of masked drama-dance performance, imported into Japan during the Asuka period
https://kotobank.jp/word/%E4%BC%8E%E6%A5%BD-50020
● 古樂 = kogaku (こがく) / gu yue - "ancient/old music"
● 新樂 = shingaku (しんがく) / xin yue - "new music"
● 調 (diao; Japanese: chō / ちょう) - mode or mode-key (transposed mode)
● 調子 = diaozi / chōshi (ちょうし) - mode or mode-key (transposed mode)
https://kotobank.jp/word/%E8%AA%BF%E5%AD%90-97848
● 音取 = yinqu / netori (ねとり) - a short introductory piece usually played at the beginning of a kangen program in order to tune the instruments and indicate to the audience the mode and mood of the music to follow, thus setting the tonal atmosphere of the concert; it can be described as a highly stylized form of "tuning"
https://kotobank.jp/word/%E9%9F%B3%E5%8F%96-111471
● 拍子 = paizi / hyōshi (ひょうし) - 1) beat of the large drum; 2) a measure in which such a beat falls
● 同曲 = tongqu / dōkyoku (どうきょく) - secondary version or notation [of the preceding movement] (found in Sino-Japanese scores)
● 只拍子 = zhi paizi / tadabyōshi (ただびょうし) - original/ordinary version [of a movement] (found in Sino-Japanese scores)
● 樂拍子 = yue paizi / gakubyōshi (がくびょうし) - a movement that has been subjected to the formulaic application of melodic elaboration (found in Sino-Japanese scores beginning in the 11th century)
● 換頭 or 喚頭 = huan tou / kandō or kantō (かんどう or かんとう) - "a change to the beginning"; specifically, a section that replaces the beginning of a movement when it is repeated; one returns to the body of the movement at the place marked 同 (tong / dō) or 返付 (fan fu / kaeshizuke)
● 曲 (qu; Japanese: kyoku / きょく) - piece
● 大曲 (daqu; Japanese: taikyoku / たいきょく) - a grand suite comprising multiple movements of varying tempo levels, often performed to accompany singing and/or dance
● 中曲 (zhongqu; Japanese: chūkyoku / ちゅうきょく) - a piece of moderate/medium length; used to refer to both suites and single movements
● 小曲 (xiaoqu; Japanese: shōkyoku / しょうきょく) - "small piece"; an individual single-movement piece
● 序 (xu; Japanese: jo / じょ) - prelude/beginning
● 破 (po; Japanese: ha / は) - "broaching"/breaking/developing
● 急 (ji; Japanese: kyū / きゅう) - quick/rushing to the end
● 入破 (ru po; Japanese: juha / じゅは) - entering [and] "broaching"/breaking/developing, a movement type that appears in many suites
● 遊聲 (yousheng; Japanese: ゆうせい / yūsei) - processional, a movement type that appears in several suites
● 颯踏 (sa ta; Japanese: sattō / さっとう) - "stamping," a movement type that appears in several suites
● 管弦 (guanxian; Japanese: kangen / かんげん) - an ensemble formation comprising string, wind, and percussion instruments
https://kotobank.jp/word/%E7%AE%A1%E5%BC%A6-48668
● 詠 = yong / ei (えい) - a movement with poetic text, meant to be sung
● 帖 = tie / jō (じょう) - generally used in Sino-Japanese tablatures to indicate numbered sub-sections of a given xu, po, or ji movement, which are often, but not always of the same length. According to Steven Nelson, "these can have the same melodies, the same melodies with the opening phrase(s) replaced by something similar of the same length, the same melodies with something attached at the head (as in the case of Etenraku), different melodies, or even different melodies and lengths; for bugaku dances, the dance movements usually differ for different jō even if the music is the same." The term can also refer to a strict repetition of a given xu, po, or ji movement. Note that, in Chinese literature about music, the term 疊 (die, which is also pronounced jō in Japanese) is used instead to mean the same thing.● 半帖 = ban tie / hanjō (はんじょう) - used to indicate the middle of a piece
● 撥合 = bo he / kakiawase - a category of very brief tuning pieces for lute and zither, of Japanese origin, with the earliest notations dating to the 11th century
● 絃合 = xian he / o-awase - a category of very brief tuning pieces for lute and zither, of Chinese origin
● 秘曲 = mi qu / hikyoku (ひきょく) - "secret piece," a solo piece that, by tradition, was only to be transmitted to a single carefully selected student during a teacher's lifetime
● Jonathan Condit's name is rendered in Chinese as 乔·康迪特 (J. Condit).
● Allan Marett's (b. 1949) name is rendered in Chinese as 阿伦·曼瑞特 or 艾·曼瑞特 (A. Marett).
● Elizabeth Markham's name is rendered in Chinese as 伊·玛卡姆 (E. Markham).
● Noël Nickson's surname is rendered in Chinese as 尼克森, or his full name given as 诺•尼克森.
● Laurence Picken's name is rendered in Chinese as 劳伦斯·毕铿 or 劳伦斯·辟肯, or simply 毕铿 or 辟肯 (Picken), and in Japanese as ローレンス・ピッケン.
● Rembrandt Wolpert's (b. 1948) name is rendered in Chinese as 伦勃朗·沃帕特 or 莱·沃帕特 (R. Wolpert).
● Steven G. Nelson's (b. 1956) name is rendered in Japanese as スティーヴン・G・ネルソン.
● Steven G. Nelson's (b. 1956) name is rendered in Japanese as スティーヴン・G・ネルソン.
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Thanks to Julien Baley, Zach Berge-Becker, Darren Davies, David Dettmann, Ash Henson, Patrick Huang, Michael Kong, Alan Lau, Bin Li, Steven G. Nelson, John Renfroe, Reinhard Straub, Gerald Veltias, Keith Wong, Esther Xiao Jia Jia, and Yanagita Tokinori for assistance with this page.
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Site index:
仁智要录JINCHI YOROKU has another source which contains the 12th part (not contained in your link【宫内厅】version).
ReplyDeleteBelow is a link of book 12:
https://www.iiif.ku-orcas.kansai-u.ac.jp/books/002788781
Thank you for your helpful comment and link. I have updated the "Jinchi Yoroku" list as best I could to reflect the pieces in part 12. Any assistance in improving the list would be greatly appreciated; this work remains extremely difficult due to the lamentable and surprising fact that there seems to be no complete listing of all the titles of the pieces contained in "Sango Yoroku" and "Jinchi Yoroku" (the most important collections of the world's oldest orchestral music) in on any website or in any published book or article. That is why I have created this website, but in order to ensure that the data here is complete and free from errors, more assistance is needed.
ReplyDeleteHello, David.
ReplyDeleteThe facsimile link provided under "Kaichū-fu 『懐中譜』" does not direct to the intended flute score. The electronically imaged version for those 3 volumes is not yet publicly available, I believe. The current link instead directs to a hichiriki score that happens to share the same title and was written in the Edo period. There is also a biwa score that also has "懐中" in its title as well... Confusing.
Thank you, I will do my best to revise this listing, though it would help to know the year the hichiriki collection was completed so I can create a new listing for it. Bibliographic details on these Japanese websites are severely lacking, and the indexing is terrible.
DeleteThe hichiriki score contains a colophon on page "L0220447" of the digitized version ( https://webarchives.tnm.jp/dlib/img/2723;jsessionid=B4D73FE406C0C0F0A9FB687CB0CAE631/medium/L0220447.jpg ):
Delete"従四位下内匠頭 太秦兼陳
享保三戌九月"
太秦兼陳 (Uzumasa Kanenobu; 1673～1754), also known as 東儀兼陳 (Togi Kanenobu), who hold the official title 従四位下内匠頭 (Junior 4th rank, Head of the "Takumi (内匠)" Department), apparently authored the hichiriki score in question and finished the work on the "9th month of the 3rd Year of Kyōhō Period (享保三戌九月)" or 1718.
Brief biography of 太秦兼陳 ( http://utamai.com/article/177448437.html ):
とうぎかねのぶ
●東儀兼陳
生歿：1673～1754 （82）
（延宝元年10月22日～宝暦年10月12日）
実父：東儀兼溢
実子：東儀兼脩
1683（天和3年9月21日）
正六位下・左衛門少志
1691（元禄4年12月21日）
従五位下
1692（元禄5年12月12日）
左衛門大尉（転任）
1705（宝永2年12月18日）
正五位下・内匠頭
1712（正徳2年12月25日）
従四位下
1719（享保4年12月26日）
従四位上
1726（享保11年12月24日）
正四位下
1754（宝暦4年8月19日）
正四位上
Hope this helps.
Thank you once again; I have updated the listing. I hope to be able to add the contents of many of these collections in the future as well.
Delete