Saturday, April 10, 2021

Tang-era piece: Qing Bei Yue《傾盃樂》

Tang-era piece:  Qing Bei Yue
《傾盃樂》
compiled by David Badagnani (rev. 23 July 2023)
Gilded silver flask shaped in the style of a northern nomad's leather bag, embossed with the image of a horse dancing with a cup of wine in its mouth. China, Tang Dynasty. Excavated in October 1970 from Hejia Village, Xi’an, Shaanxi province, northwest China. Collection of the Shaanxi History Museum, Xi'an, Shaanxi province, northwest China.

In an effort to make this information more accessible, this document contains resources related to Tang-era pieces bearing the title Qing Bei Yue (《傾盃樂》or《傾杯樂》) (Tilted Cup Music), which are preserved in score materials found in both China and Japan.

In China, the Dunhuang Scores (10th century) contain two different melodies of this title (which musicologist Chen Yingshi found to be virtually identical despite being in different mode-keys:  pieces nos. 3 (in the Lydian mode on C, called Huangzhong Gong 黃鐘宮 in Chinese) and 12 (in the Aeolian mode on B, called Xiaoshi Jue 小食角 in Chinese).

As preserved in Sino-Japanese sources, this piece is called Keibairaku『傾杯樂（けいばいらく）』or『傾盃樂（けいばいらく）』, and it appears in the following score collections:
1) and 2) Sango Yōroku and Jinchi Yōroku, both of which were compiled in the late 12th century
3) Ruisō Chiyō『類箏治要』(1296 or c. 1261)
4) Rosei Yōroku『蘆聲要録』(perhaps 1661)

The list of "Tang music" pieces prepared by the Japanese flute player Heguri no Hideshige (平群秀茂) that appears in his Sango Hishō『三五秘抄』(928) lists Qing Bei Yue as a suite in the Mixolydian mode on E, originally comprising three movements:  xu (序, prelude), po (破, "broaching"), and ji (急, "quick"), but of these the first has been lost.

This piece is associated with the celebrated dancing horses of the Tang emperor Xuanzong (Tang Xuanzong de Wu Ma, 唐玄宗的舞马), which would end their performances by lifting a wine cup in their mouths, then tossing back their heads as if to drain its contents.  Volume 28 of Jiu Tang Shu《旧唐书》(The Old Book of Tang), an official history of the Tang Dynasty, includes a mention of a debut performance, during Xuanzong's reign (713-756), by thirty pairs of dancing horses, which danced to a piece entitled Qing Bei Qu《傾杯曲》.

An archaeological discovery made in Hejia Village, Xi’an, Shaanxi province, northwest China in October 1970 provided proof of the veracity of these stories of dancing horses: a Tang period gilded silver flask (now in the collection of the Shaanxi History Museum), shaped in the style of a northern nomad's leather bag, embossed with the image of a horse dancing with a cup of wine in its mouth.

More information about the silver flask:
http://masterpieces.asemus.museum/masterpiece/detail.nhn?objectId=10735

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Chinese historical sources mentioning Qing Bei Yue

● 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).  A piece entitled "Qing Bei Qu"《傾盃曲》appears in volume 15.

● Jiegu Lu《羯鼓錄》
Jiegu Lu is a book on music in two parts by Nan Zhuo (南卓, fl. 848-850).  The first part was completed in 848 and the second in 850.  The title appears as《傾杯樂》.

● Jiu Tang Shu《旧唐书》(The Old Book of Tang), also known simply as Tang Shu《唐书》 (The Book of Tang), a historical work in 200 volumes that 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).  The title appears in volume 28 as《傾杯樂》.

● 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.  The title appears in volume 33 as《傾盃樂》.

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Chinese poems and poetic lyrics mentioning Qing Bei Yue

《范真传侍御累有寄，因奉酬十首》
作者：鲍溶（唐末）
by Bao Rong (late Tang Dynasty, fl. c. 820)

昨日新花红满眼，今朝美酒绿留人。
更宜明月含芳露，凭杖萧郎夜赏春。
白雪翦花朱蜡蒂，折花传笑惜春人。
请君白日留明日，一醉春光莫厌频。

云髻凤文细，对君歌少年。
万金酬一顾，可惜十千钱。
玉管倾杯乐，春园斗草情。
野花无限意，处处逐人行。
闻道中山酒，一杯千日醒。
黄莺似传语，劝酒太叮咛。
红袂歌声起，因君始得闻。
黄昏小垂手，与我驻浮云。
相劝醉年华，莫醒春日斜。
春风宛陵道，万里晋阳花。
碧绿草萦堤，红蓝花满溪。
愿君常践蹋，莫使暗萋萋。
萋萋巫峡云，楚客莫留恩。
岁久晋阳道，谁能向太原。
岁酒劝屠苏，楚声山鹧鸪。
春风入君意，千日不须臾。

*   *   *   *   *   *   *   *   *

《鹧鸪天》（集曲名）
Partridges in the Sky (Zhegu Tian)
作者：无名氏（唐末宋初）
Anonymous (late Tang or early Song Dynasty)

烛影摇红玉漏迟。鹊桥仙子下瑶池。
倾杯乐处笙歌沸，苏幕遮阑笑语随。
醉落魄，阮郎归。传言玉女步轻移。
凤凰台上深深愿，一日和鸣十二时。

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Videos and recordings of Qing Bei Yue

● Studio recording of Qing Bei Yue (Dunhuang Scores no. 3) (China, c. 1992) (starts at 3:16)

● Studio recording of Qing Bei Yue (Dunhuang Scores no. 12) (China, c. 1992) (starts at 27:06)

● Studio recording of a solo performance of Qing Bei Yue (Dunhuang Scores no. 12), as reconstructed by Chen Yingshi, performed by a pipa player from the Shanghai Chinese Ancient Music Ensemble (Shanghai, China, 1988)

● Solo performance of Qing Bei Yue (Dunhuang Scores no. 3) by Xu Bilan (shu konghou) (probably China, 2012)

● Duo performance of Qing Bei Yue (Dunhuang Scores no. 3), as reconstructed by Ye Dong, performed by Xu Bilan (shu konghou) with Xu Ge (janggu) (China, 2015)

● Duo performance of Qing Bei Yue (Dunhuang Scores no. 3), as reconstructed by Ye Dong, by Xu Bilan (shu konghou) with Xu Ge (janggu) (China, 2018)

● Performance of Qing Bei Yue (from Sino-Japanese sources), performed by Xu Ge and his ensemble (China, 2018)

● Duo performance of Qing Bei Yue (Dunhuang Scores no. 3) by shu konghou players Tomoko Sugawara and Fan Rong (Shanghai, China, 2019)

● Performance of Qing Bei Yue (Dunhuang Scores no. 3) by the Eurasia Consort (2019) (starts at 12:14)

● Performance of the Ji movement of Qing Bei Yue (from Sino-Japanese sources) by Xu Ge and his ensemble, with added Western harmony in the shu konghou part (Weihai, Shandong province, China, 2020)

● Multitracked studio recording of the Ji movement of Qing Bei Yue (from Sino-Japanese sources) by Bilibili user männlichkeit (China, 2020)

● Performance of Qing Bei Yue (Dunhuang Scores no. 3) by the Eurasia Consort (2020)

● Full-ensemble realization of Qing Bei Yue (from Sino-Japanese sources) done by Tokinori Yanagita using synthesized sounds (Japan, 2021)

● Full-ensemble realization of Qing Bei Yue (from Sino-Japanese sources), revised version, done by Tokinori Yanagita using synthesized sounds (Japan, 2021)

● Full-ensemble realization of Qing Bei Yue (from Sino-Japanese sources), revised version 2, done by Tokinori Yanagita using synthesized sounds (Japan, 2022)

● Electronic realization of Qing Bei Yue (Dunhuang Scores no. 3), in versions for solo pipa with percussion and solo pipa, by YouTube user 古樂尋蹤_HGofACH (Canada, 2022)

● Electronic realization of Qing Bei Yue (Dunhuang Scores no. 12), in both full-ensemble and solo pipa versions, by YouTube user 古樂尋蹤_HGofACH (Canada, 2022)

● Full-ensemble realization of a Meiji-era version of Qing Bei Yue, done by Tokinori Yanagita using synthesized sounds (Japan, 2023)

● Full-ensemble electronic realization of Qing Bei Yue (from Sino-Japanese sources), done by YouTube user 古樂尋蹤_HGofACH (Canada, 2023)

● Electronic realization of the pipa part for Qing Bei Yue (from Sino-Japanese sources), done by YouTube user 古樂尋蹤_HGofACH (Canada, 2023)

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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.
● 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. Tangdai Gu Pu Yi Du《唐乐古谱译读》.  Shanghai:  Shanghai Music Publishing House, 2001.
http://www.jianpu.cn/book/4/4327.htm

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Thanks to Keith Wong for assistance with this page.

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Friday, April 9, 2021

Tang-era piece: Wei Qing Tangtang《韋𡖖堂堂》

Tang-era piece:  Wei Qing Tangtang
《韋𡖖堂堂》
compiled by David Badagnani (rev. 7 July 2022)

In an effort to make this information more accessible, this document contains resources related to the Tang-era piece entitled Wei Qing Tangtang《韋𡖖堂堂》(modern/standard spelling: 《韋卿堂堂》).

In the Sino-Japanese tradition, this piece is called Ikyō-dōdō『韋𡖖堂堂（いきょうどうどう）』, or Wikyau-daudau『韋𡖖堂堂（ゐきやうだうだう）』in classical Japanese, and it appears in the following score collection:
● Gogen Fu『五絃譜』or Gogen Kinfu『五絃琴譜』, the manuscript itself simply bearing the title《五絃》(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 was probably copied in Japan in the 11th century during the mid-Heian period.

According to the research of musicologist Steven G. Nelson, who reconstructed this piece for his master's thesis (in which it is transcribed in staff notation), it is in the Aeolian mode on E (黄鐘均角調, otherwise called 越角), which is somewhat unusual for the Tōgaku tradition. It is in six continuous sections, each comprising 8 measures of 8/4. There is quite a bit of repetition of melodic material, but interestingly enough each movement is written out completely.  The tuning specified for the 5-stringed lute in Gogen Fu is the same one used for the Dorian mode on A, called Huangzhong diao (黄鐘調) in Chinese or Ōshiki-chō in Japanese, namely E-A-c-e-g.

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Chinese historical sources mentioning the term Tangtang

● Tongdian《通典》(Comprehensive Institutions)
Written by Tang Dynasty scholar and historian Du You (杜佑, 735-812) between 766 and 801, Tongdian discusses music in its fifth section; the title appears as Tangtang《堂堂》in volume 146.

● Jiegu Lu《羯鼓錄》
Jiegu Lu is a book on music in two parts by Nan Zhuo (南卓, fl. 848-850).  The first part was completed in 848 and the second in 850.  The title appears as Tangtang《堂堂》.

● Jiu Tang Shu《旧唐书》(The Old Book of Tang), also known simply as Tang Shu《唐书》 (The Book of Tang), a historical work in 200 volumes that 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).  In volume 29, the title appears as Tangtang《堂堂》, and in volume 51 it appears as《側堂堂》.

● 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.  The title appears as Tangtang《堂堂》in volume 33.

● Yuefu Shiji《乐府诗集》by Guo Maoqian (郭茂倩, 1041-1099)
The title appears in volume 44 as Tangtang《堂堂》.

● Yuefu Shiji《乐府诗集》by Guo Maoqian (郭茂倩, 1041-1099)
The title appears in volume 47 as Tangtang《堂堂》.

● Wenxian Tongkao《文献通考》(Comprehensive Examination of Literature) Compiled in the early 14th century by Ma Duanlin (马端临), this work contains a list and descriptions (though no illustrations) of many ancient and Medieval musical instruments.  In volume 146, the title appears as Tangtang《堂堂》.

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Chinese poetic lyrics mentioning the term Tangtang

《杂曲歌辞 堂堂》
作者：李贺（唐）
by Li He (Tang Dynasty, 790 or 791-816 or 817)

堂堂复堂堂，红脱梅灰香。
十年粉蠹生画梁，饥虫不食推碎黄。 
蕙花已老桃叶长，禁院悬帘隔御光。 
华清源中礜石汤，裴回百凤随君王。


*   *   *   *   *   *   *   *   *

《杂曲歌辞 其一 堂堂》
作者：李义府（唐初）
by Li Yifu (early Tang Dynasty, 614-666)

懒正鸳鸯被，羞褰玳瑁床。
春风别有意，密处也寻香。

Notes:

《堂堂》，角调曲，本陈后主所作，唐为法曲。


*   *   *   *   *   *   *   *   *

《杂曲歌辞 其二 堂堂》
作者：李义府（唐初）
by Li Yifu (early Tang Dynasty, 614-666)

镂月成歌扇，裁云作舞衣。
自怜回雪影，好取洛川归。

Notes:

《万首绝句》题作《题美人》


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Videos and recordings of Wei Qing Tangtang

● Studio recording of Wei Qing Tangtang, as transcribed by Hayashi Kenzō, performed by the Shanghai Chinese Ancient Music Ensemble (Shanghai, China, 1988); Wei Qing Tangtang starts at 31:09

● Realization of Wei Qing Tangtang by Bilibili user 雪狼的天空 using synthesized sounds (China, 2021)

● Electronic realization of Wei Qing Tangtang by YouTube user 古樂尋蹤_HGofACH (Canada, 2022)

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Bibliography

● Wolpert, R. F.  "A Ninth-Century Score for Five-Stringed Lute."  Musica Asiatica, vol. 3 (1981), pp. 107-135.

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Thanks to Steven G. Nelson for assistance with this page.

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Wednesday, April 7, 2021

Tang-era piece: Yushu Hou Ting Hua《玉樹後庭花》

Tang-era piece:  Yushu Hou Ting Hua
《玉樹後庭花》
compiled by David Badagnani (rev. 23 July 2023)

In an effort to make this information more accessible, this document contains resources related to the Tang-era piece entitled Yushu Hou Ting Hua《玉樹後庭花》(A Jade Tree's Rear-Court Blossom), which exists in the form of instrumental parts for a single-movement piece in the Mixolydian mode.

As preserved in Sino-Japanese sources, this piece is called Gyokuju gotei-ka『玉樹後庭花（ぎょくじゅごていか）』or Gyokuju kōtei-ka『玉樹後𨓀花（ぎょくじゅこうていか）』, and it appears in the following score collections:
1) and 2) Sango Yōroku and Jinchi Yōroku, both of which were compiled in the late 12th century
3) Ruisō Chiyō『類箏治要』(1296 or c. 1261)
4) Rosei Yōroku『蘆聲要録』(perhaps 1661)

The list of "Tang music" pieces prepared by the Japanese flute player Heguri no Hideshige (平群秀茂) that appears in his Sango Hishō『三五秘抄』(928) lists Yushu Hou Ting Hua as a po (破, "broaching") movement, in the Mixolydian mode on D.

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Chinese historical sources mentioning Yushu Hou Ting Hua

● Chen Shu《陈书》(The Book of Chen)
The official history of the Chen Dynasty (557-589), Chen Shu was compiled during the Tang Dynasty by compiled by the Sui and Tang Dynasty official Yao Silian (姚思廉, 557-637), and completed in 636, in the early Tang Dynasty.  It is one of the Twenty-Four Histories (二十四史).  Music is discussed in several volumes, and Yushu Hou Ting Hua is mentioned in volume 7, Collected Biographies no. 1:  Empresses and Consorts.

● 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, and Yushu Hou Ting Hua is mentioned in volumes 13 and 22.

● Tongdian《通典》(Comprehensive Institutions)
Written by Tang Dynasty scholar and historian Du You (杜佑, 735-812) between 766 and 801, Tongdian discusses music in its fifth section, and Yushu Hou Ting Hua is mentioned in volume 146.

● Jiu Tang Shu《旧唐书》(The Old Book of Tang), also known simply as Tang Shu《唐书》 (The Book of Tang), a historical work in 200 volumes that 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).  Yushu Hou Ting Hua is mentioned in volume 29.

● Yuefu Shiji《乐府诗集》by Guo Maoqian (郭茂倩, 1041-1099)
Yushu Hou Ting Hua is mentioned in volumes 44, 47, and 61.

● Wenxian Tongkao《文献通考》(Comprehensive Examination of Literature) Compiled in the early 14th century by Ma Duanlin (马端临), this work contains a list and descriptions (though no illustrations) of many ancient and Medieval musical instruments.  Yushu Hou Ting Hua is mentioned in volume 146.

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Chinese poems and poetic lyrics mentioning Yushu Hou Ting Hua

《玉树后庭花》
A Jade Tree's Rear-Court Blossom (Yushu Hou Ting Hua)
作者：陈后主陈叔宝（南朝 – 陈）
by Emperor Chen Houzhu, personal name Chen Shubao (Southern Dynasties:  Chen, 553-604)

丽宇芳林对高阁，新装艳质本倾城。
映户凝娇乍不进，出帷含态笑相迎。
妖姬脸似花含露，玉树流光照后庭。
花开花落不长久，落红满地归寂中。

Notes:

The version of this poem in Yuefu Shiji《乐府诗集》by Guo Maoqian (郭茂倩, 1041-1099) does not include the fourth couplet, which seems to have been composed by another poet who wished to normalize the six-line poem to one of eight lines.


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《歌》
Song (Ge)
作者：陈后主陈叔宝（南朝 – 陈）
by Emperor Chen Houzhu, personal name Chen Shubao (Southern Dynasties:  Chen, 553-604)

玉树后庭花，花开不复久。


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《金陵歌送别范宣》
作者：李白（唐）
by Li Bai (Tang Dynasty, 701-762)

石头巉岩如虎踞，凌波欲过沧江去。
钟山龙盘走势来，秀色横分历阳树。
四十馀帝三百秋，功名事迹随东流。
白马小儿谁家子，泰清之岁来关囚。
金陵昔时何壮哉，席卷英豪天下来。
冠盖散为烟雾尽，金舆玉座成寒灰。
扣剑悲吟空咄嗟，梁陈白骨乱如麻。
天子龙沈景阳井，谁歌玉树后庭花。
此地伤心不能道，目下离离长春草。
送尔长江万里心，他年来访南山老。

Notes:

引用典故：白马小儿　后庭花　龙沈景阳井


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《句》
作者：卢秀才（唐）
by Lu Xiucai (Tang Dynasty)

长醉金陵前殿酒，偏闻玉树后庭花。

Notes:

This couplet is an excerpt from a poem entitled《殷淑妃》.


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《琵琶行》
Pipa Song (Pipa Xing)
作者：牛殳（中唐）
by Niu Shu (mid-Tang Dynasty)

何人劚得一片木，三尺春冰五音足。
一弹决破真珠囊，迸落金盘声断续。
飘飘飖飖寒丁丁，虫豸出蛰神鬼惊。
秋鸿叫侣代云黑，猩猩夜啼蛮月明。
潏潏汩汩声不定，胡雏学汉语未正。
若似长安月蚀时，满城敲鼓声噒噒。
青山飞起不压物，野水流来欲湿人。
伤心忆得陈后主，春殿半酣细腰舞。
黄莺百舌正相呼，玉树后庭花带雨。
二妃哭处山重重，二妃没后云溶溶。
夜深霜露锁空庙，零落一丛斑竹风。
金谷园中草初绿，石崇一弄思归曲。
当时二十四友人，手把金杯听不足。
又似贾客蜀道间，千铎万磬鸣空山。
未若此调呦呦兮啁啁，嘈嘈兮啾啾。
引之于山，兽不能走。
吹之于水，鱼不能游。
方知此艺不可有，人间万事凭双手。
若何为我再三弹，送却花前一尊酒。


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《陈宫怨二首》
作者：许浑（唐）
by Xu Hun (Tang Dynasty, c. 788 or 791-c. 860 or 858)

其一
风暖江城白日迟，昔人遗事后人悲。
草生宫阙国无主，玉树后庭花为谁。

其二
地雄山险水悠悠，不信隋兵到石头。
玉树后庭花一曲，与君同上景阳楼。


*   *   *   *   *   *   *   *   *

《相和歌辞 玉树后庭花》
作者：张祜（唐）
by Zhang Hu (Tang Dynasty, c. 785-c. 849)

轻车何草草，独唱后庭花。
玉座谁为主，徒悲张丽华。


*   *   *   *   *   *   *   *   *

《后庭花破子》
作者：李煜（五代十国 – 南唐）
by Li Yu (Five Dynasties:  Southern Tang Dynasty, 937-978)

玉树后庭前，瑶草妆镜边。
去年花不老，今年月又圆。
莫教偏，和月和花，天教长少年。


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Videos and recordings of Yushu Hou Ting Hua

● Trio performance of Yushu Hou Ting Hua by Xu Ge and members of his ensemble (Beijing, China, 2017)
https://www.youtube.com/watch?v=ILQzdcio_yc ● Performance, with dance, of Yushu Hou Ting Hua by Xu Ge and his ensemble (China, 2017)

● Performance, with dance, of Yushu Hou Ting Hua by Xu Ge and his ensemble (Beijing, China, 2017)

● Performance, with dance, of Yushu Hou Ting Hua by Xu Ge and his ensemble (Shanghai, China, 2017)

● Small ensemble realization of Yushu Hou Ting Hua, done by Liu Tao using synthesized sounds (Beijing, China, c. 2018)

● Performance of Yushu Hou Ting Hua by Xu Ge and his ensemble (China, 2018)

● Studio recording of Yushu Hou Ting Hua, performed by Bilibili user Beilin Zhai Zhuren (北林斋主人), heng di (China, 2020)

● Recording of Yushu Hou Ting Hua, as reconstructed by Xu Ge and Liu Tao, performed by Bilibili user Beilin Zhai Zhuren (北林斋主人), bili (China, 2020)

● Quartet performance of Yushu Hou Ting Hua by Xu Ge and members of his ensemble (Beijing, China, 2020); Yushu Hou Ting Hua starts at 99:17

● Performance of Yushu Hou Ting Hua by Xu Ge and his ensemble, with added Western harmony (China, 2020)

● Full-ensemble realization of Yushu Hou Ting Hua, done by Tokinori Yanagita using synthesized sounds (Japan, 2021)

● Full-ensemble realization of Yushu Hou Ting Hua, done by Tokinori Yanagita using synthesized sounds, revised version (Japan, 2021)

● Performance of Yushu Hou Ting Hua by Xu Ge and his ensemble, with added Western harmony (China, 2021)

● Electronic realization of Yushu Hou Ting Hua by YouTube user 古樂尋蹤_HGofACH (Canada, 2023)

● Electronic realization of the zheng part to Yushu Hou Ting Hua by YouTube user 古樂尋蹤_HGofACH (Canada, 2023)

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Bibliography

● 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.

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Thanks to Benjamin Daniels, Jeff Loh, and Steven G. Nelson for assistance with this page.

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Tuesday, April 6, 2021

Tang-era piece: Niao Xiang Yue《鳥向樂》

Tang-era piece:  Niao Xiang Yue
《鳥向樂》
compiled by David Badagnani (rev. 23 July 2023)

In an effort to make this information more accessible, this document contains resources related to the Tang-era piece entitled Niao Xiang Yue《鳥向樂》, which exists in the form of instrumental parts for a single-movement piece in the Dorian mode.  It is in two sections, each of which comprises 18 measures of 8/4.

As preserved in Sino-Japanese sources, this piece is called Chōkōraku『鳥向樂（ちょうこうらく）』, and it appears in the following score collections:
1) Hakuga Fue-fu『博雅笛譜』, also known as Hakuga no Fue-fu (literally "Hakuga's Fue Scores"), and 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)") (966)
2) and 3) Sango Yōroku and Jinchi Yōroku, both of which were compiled in the late 12th century
4) Rosei Yōroku『蘆聲要録』(perhaps 1661)

The list of "Tang music" pieces prepared by the Japanese flute player Heguri no Hideshige (平群秀茂) that appears in his Sango Hishō『三五秘抄』(928) lists Niao Xiang Yue as a po (破, "broaching") movement, in the Dorian mode on B, which is called Panshe diao (盤渉調) in Chinese and Banshiki-chō in Japanese.

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Videos and recordings of Niao Xiang Yue

● Full-ensemble realization of Niao Xiang Yue, done by Tokinori Yanagita using synthesized sounds (Japan, 2021)
● Full-ensemble realization of Niao Xiang Yue, done by Tokinori Yanagita using synthesized sounds, revised version (Japan, 2021) https://www.youtube.com/watch?v=qGAwmyOrD5Q

● Full-ensemble realization of Niao Xiang Yue, done by Tokinori Yanagita using synthesized sounds, revised version 2 (Japan, 2022)

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Bibliography

● Marett, Allan.  "Tunes Notated in Flute-Tablature from a Japanese Source of the Tenth Century."  Musica Asiatica, vol. 1 (1977), pp. 1-59.

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Thanks to Steven G. Nelson for assistance with this page.

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Tang-era piece: Fan Long Zhou《汎龍舟》

Tang-era piece:  Fan Long Zhou
《汎龍舟》
compiled by David Badagnani (rev. 23 July 2023)

In an effort to make this information more accessible, this document contains resources related to the Tang-era piece entitled Fan Long Zhou (《汎龍舟》or《泛龍舟》), which exists in the form of instrumental parts for a suite in the Mixolydian mode on B, called Shui diao (水調) in Chinese and Sui-chō in Japanese.  It comprises two movements:
1) 序 (Xu / Jo) - prelude/beginning
2) 破 (Po / Ha) - "broaching"/breaking/developing

As preserved in Sino-Japanese sources, this piece is called Hanryūshū『汎龍舟（はんりゅうしゅう）』or Hanryōshū 『泛龍舟（はんりょうしゅう）』, and it appears in the following score collections:
1) Hakuga Fue-fu『博雅笛譜』, also known as Hakuga no Fue-fu (literally "Hakuga's Fue Scores"), and 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)") (966)
2) and 3) Sango Yōroku and Jinchi Yōroku, both of which were compiled in the late 12th century
4) Ruisō Chiyō『類箏治要』(1296 or c. 1261)
5) Rosei Yōroku『蘆聲要録』(perhaps 1661)

The list of "Tang music" pieces prepared by the Japanese flute player Heguri no Hideshige (平群秀茂) that appears in his Sango Hishō『三五秘抄』(928) lists Fan Long Zhou as a two-movement suite comprising xu (序, prelude) and po (破, "broaching") movements, in Shui diao (水調; Japanese:  Sui-chō).

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Chinese historical sources mentioning Fan Long Zhou

● 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, and Fan Long Zhou appears in volume 15 as《汎龍舟》.

● Jiaofang Ji《教坊记》(The Conservatory Records)
A collection of short essays by the Tang Dynasty scholar Cui Lingqin (崔令钦, fl. 749).  Fan Long Zhou appears as《泛龍舟》.

● Tongdian《通典》(Comprehensive Institutions)
Written by Tang Dynasty scholar and historian Du You (杜佑, 735-812) between 766 and 801, Tongdian discusses music in its fifth section, and Fan Long Zhou appears in volume 146 as《泛龍舟》.

● Jiu Tang Shu《旧唐书》(The Old Book of Tang), also known simply as Tang Shu《唐书》 (The Book of Tang), a historical work in 200 volumes that 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).  Fan Long Zhou appears as《泛龍舟》in volume 29.

● 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.  Fan Long Zhou appears as《泛龍舟》in volume 33.

● Taiping Yulan《太平御览》, an encyclopedia of general knowledge compiled by a committee of officials coordinated by Li Fang from 977 to 983
Considered one of the Four Great Books of Song, this huge leishu encyclopedia was commissioned by the imperial court of the Song dynasty during the first era of the reign of Emperor Taizong. It is divided into 1,000 volumes and 55 sections, which consist of about 4.7 million Chinese characters.  Music is covered in a section entitled "Music Division" (Yuebu, 乐部), beginning with Yuebu 1 (乐部一) in chapter 563 and ending with Yuebu 22 (乐部二十二) in chapter 584.  Fan Long Zhou appears in volume 169 as《泛龍舟》.

● Yuefu Shiji《乐府诗集》by Guo Maoqian (郭茂倩, 1041-1099)
Fan Long Zhou appears in volumes 44, 47, and 61 as《泛龍舟》.

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Videos and recordings of Fan Long Zhou

● Studio recording of Fan Long Zhou, as transcribed by Ye Dong, performed by an unknown dizi player (China, 1998)

● Realization of Fan Long Zhou, as transcribed by Ye Dong, done by Chatchol Thaikheaw using synthesized sounds (Thailand, 2013)

● Excerpt of a studio demo recording of the Po movement of Fan Long Zhou, performed by Xu Ge and his ensemble (Beijing, China, 2019)

● Performance of Fan Long Zhou by a 4-member ensemble from the Shanghai Traditional Music Society (上海国乐研究会) (Shanghai, China, 2020)

● Solo heng di performance of the Po movement of Fan Long Zhou, done by Bilibili user 长清居士 (China, 2020)

● Realization of Fan Long Zhou, done by Bilibili user Cheng Xinjiang (程心酱) using synthesized sounds (China, 2020)

● Full-ensemble realization of Fan Long Zhou, done by Tokinori Yanagita using synthesized sounds (Japan, 2021)

● Full-ensemble realization of Fan Long Zhou, done by Tokinori Yanagita using synthesized sounds, revised version (Japan, 2021)

● Full-ensemble realization of Fan Long Zhou, done by Tokinori Yanagita using synthesized sounds, revised version, in two modes (Japan, 2021)

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Bibliography

● Marett, Allan.  "Tunes Notated in Flute-Tablature from a Japanese Source of the Tenth Century."  Musica Asiatica, vol. 1 (1977), pp. 1-59.

----------------------------------------------

Thanks to Steven G. Nelson for assistance with this page.

----------------------------------------------

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