Sunday, April 4, 2021

Tang-era piece: Yuedian Yue《越殿樂》

Tang-era piece:  Yuedian Yue
《越殿樂》
compiled by David Badagnani (rev. 15 October 2026)

In an effort to make this information more accessible, this document contains resources related to the Tang-era piece entitled Yuedian Yue《越殿樂》, which exists in the form of an instrumental part for a single-movement piece in the Dorian mode, with versions in the Dorian mode on B, called Banshe diao (盤渉調) in Chinese and Banshiki-chō in Japanese; the Dorian mode on E, called Ping diao (平調) in Chinese and Hyōjō in Japanese; and the Dorian mode on A, called Huangzhong diao (黃鐘調) in Chinese and Ōshiki-chō in Japanese.

As preserved in Sino-Japanese sources, this piece is called Etenraku『越殿樂（えてんらく）』or『越天樂（えてんらく）』, 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) Ko-fu-Ryoritsu-no-Maki『古譜呂律巻』, also called Hōshō-fu『鳳笙譜』(1201)

Although the title may be translated literally as "Music of the Palace of [the state of] Yue," Tang Dynasty music scholar Laurence Picken (1909-2007) believed the "Yuedian" in the title to mean "Khotan," and, thus, that the piece's title translated as "Music of Khotan."  Khotan was a Persian-speaking oasis kingdom located in what is today the southwestern part of China's westernmost province of Xinjiang.  It was one of the earliest Buddhist states in the world.  From the Han Dynasty until at least the Tang Dynasty it was known in Chinese as Yutian or Yudian (rendered in various ways including 于阗, 于填, 于窴, and 于殿).  The kingdom existed for over a thousand years until it was conquered by the Muslims under the Kara-Khanid Yusuf Kadir Khan of Kashgar in 1006.  The name of the modern city of Hotan has been spelled "和田" (Hetian) in Chinese since 1959, and before that "和阗" (also pronounced "Hetian").

This piece, which is in 4/4 meter, comprises three sections of two measures each (six measures in total), with each pair of measures being repeated.  According to musicologist Steven G. Nelson, in standard practice the piece is performed in AABBCCAABB form, ending on the repetition of B.  In Japanese, this form is called ni-hen (literally "two repeats").  Alternatively, it may be performed in AABBCCAABBCCAABB form, which is called san-ben, meaning "three repeats."  This refers to the number of times that the repeat of the B section comes around.  This special three-part form is very rare in the Tōgaku repertory.

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Chinese historical sources mentioning Yuedian Yue

● 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.  In the text, the title appears as Yuedian《越殿》.

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Videos and recordings of Yuedian Yue

● Solo gaku-biwa performance of Yuedian Yue by a musician from the Tokyo Gakuso (東京楽所, est. 1978) and released as Track 1 on the Nippon Columbia Co., Ltd./NIPPONOPHONE album Heianchō: Tenjōbito no Hikyoku『平安朝 殿上人の秘曲』(Secret Pieces of the Court Officials of the Heian Period) (Tokyo, Japan, 1992)
https://www.youtube.com/watch?v=TRjK3Vy6p_I&list=OLAK5uy_mGZGWGnj-Lf1PHuOwpro0nD0_xrxXoMqI&index=1 ● Full-ensemble performance of Yuedian Yue by an ensemble from the Research Centre for Japanese Traditional Music at the Kyoto City University of Arts, dir. Takwa Satoshi (Moscow, Russia, 2013)

● Full-ensemble studio recording of Yuedian Yue by Bilibili user männlichkeit (China, 2018)

● Performance of Yuedian Yue by Tomoko Sugawara (kugo) (probably New York City, 2020) (starts at 2:18)

● Performance of Yuedian Yue by Tomoko Sugawara (kugo) (probably New York City, 2020) (starts at 2:35)

● Performance of Yuedian Yue by Tomoko Sugawara (kugo) (probably New York City, 2020) (starts at 24:22 in the first video and 2:31 in the second video) https://www.youtube.com/watch?v=b-1NgHTafk0&t=1462s

● Cross-cultural performance of Yuedian Yue by the Eurasia Consort (probably New York City, 2020) (starts at 22:03)

● Solo heng di performance of Yuedian Yue by Bilibili user 长清居士 (China, 2021)

● Recording of Yuedian Yue, played on heng di by Bilibili user 长清居士, with added pipa (China, 2021)

● Full-ensemble realization of Yuedian Yue, done by Tokinori Yanagita using synthesized sounds (Japan, 2021)

● Duo performance of Yuedian Yue by Tomoko Sugawara (kugo) and Peiyou Chang (guqin) (New York, 2021)

● Multitrack recording of Yuedian Yue, performed by Bilibili user Beilin Zhai Zhuren (北林斋主人), bili, heng di, and percussion (China, 2021)
https://www.bilibili.com/video/av417428184/

● Solo pipa performance of Yuedian Yue by Bilibili user He He He He He Zhouzi (鹤鹤鹤鹤鹤洲子) (China, 2021)

● Solo pipa performance of Yuedian Yue by Bilibili user 桐木D (China, 2022)
● Full-ensemble realization of Yuedian Yue, done by Tokinori Yanagita using synthesized sounds (Japan, 2022)

● Solo koto performance of Yuedian Yue by Bilibili user 桐木D (China, 2022)

● Full-ensemble realization of Yuedian Yue, done by Tokinori Yanagita using synthesized sounds, revised version 7.1 (Japan, 2022)

● Full-ensemble realization of Yuedian Yue from a Meiji-era source, done by Tokinori Yanagita using synthesized sounds (Japan, 2022)

● Solo heng di performance of Yuedian Yue by Bilibili user 长清居士 (China, 2023)
https://www.bilibili.com/video/BV1w24y167uY/

● Solo koto performance of Yuedian Yue by Bilibili user 不姓杨的扬波 (China, 2023) (dead link)

● Koto, large drum, and paiban performance of Yuedian Yue by Bilibili user 不姓杨的扬波 (China, 2023) (dead link)
https://www.bilibili.com/video/BV13N411x7qd/

● Excerpt of an ensemble performance of Yuedian Yue (Kyoto, Japan, 2024)

● Ensemble performance of Yuedian Yue, as reconstructed by Laurence Picken, by the Eurasia Consort (United States, 2025) https://www.youtube.com/watch?v=9S92-WG92ow&list=OLAK5uy_md3tkzQ2P94uDKunMsDC54xeJc6RsXq6E&index=5&pp=8AUB

● Full-ensemble realization of Yuedian Yue, done by Tokinori Yanagita using synthesized sounds (Japan, 2026)

● Full-ensemble realization of Yuedian Yue from a Meiji-era source, done by Tokinori Yanagita using synthesized sounds (Japan, 2026)

● Full-ensemble realization of Yuedian Yue from a Meiji-era source, done by Tokinori Yanagita using synthesized sounds (Japan, 2026)

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Bibliography

● Picken, Laurence.  "Central Asian Tunes in the Gagaku Tradition."  Festschrift für Walter Wiora, zum 30. Dezember 1966 (Kassel:  Bärenreiter, 1967), pp. 545-551.
● 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.
● 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

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

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Saturday, April 3, 2021

Tang-era piece: Xue Wen Ti《薛問提》

Tang-era piece:  Xue Wen Ti
《薛問提》
compiled by David Badagnani (rev. 26 September 2026)

In an effort to make this information more accessible, this document contains resources related to the Tang-era piece entitled Xue Wen Ti《薛問提》, which exists in the form of an instrumental part for a single-movement piece.  This piece's title is probably a transliteration of a Central Asian term.

In the Sino-Japanese tradition, this piece is called Setsumondai『薛問提（せつもんだい）』, and it appears in the following score collection:
● Gogen-fu『五絃譜』or Gogen-kinpu『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.

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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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Tang-era piece: He Nan Pu《河南浦》

Tang-era piece:  He Nan Pu
《河南浦》
compiled by David Badagnani (rev. 5 July 2026)

In an effort to make this information more accessible, this document contains resources related to the Tang-era piece entitled He Nan Pu《河南浦》(The Henan Riverbank), which exists in the form of instrumental parts for a single-movement piece consisting of 16 measures of 8/4, in the Dorian mode.

As preserved in Sino-Japanese sources, this piece is called Kananfu『河南浦（かなんふ）』, 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)

In Hakuga Fue-fu, He Nan Pu is described as a piece of kogaku (古樂; Chinese:  gu yue), meaning "ancient/old music," implying that this melody may have originated in the early Tang Dynasty, or possibly even earlier (the Sui Dynasty or Northern and Southern Dynasties period).  This title does not, however, seem to be mentioned in any Chinese historical source.

According to musicologist Steven G. Nelson, historical records indicate that a performance of He Nan Pu, with a newly choreographed dance, was presented as part of the Great Thanksgiving Festival (called Daijō-e, 大嘗会, in Japanese) held after the enthronement of Emperor Ninmyō in 833, during the early Heian period.  The origin of the melody itself is, however, not made clear in these records.

Also according to Nelson, there is a Chinese-style poem (called ei, 詠, in Japanese) associated with this piece, probably of Japanese authorship due to its content, which is included in the list of "Tang music" pieces prepared by the Japanese flute player Heguri no Hideshige that appears in his Sango Hishō『三五秘抄』(928), as well some later sources; this text would have been sung as one of the movements of the dance performance.  The lyrics are as follows:

玄北星辰皆天道，朱南日月昭会場。
八島新器鎮万歳，自生無相属大嘗。

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Videos and recordings of He Nan Pu

● Full-ensemble realization of He Nan Pu, done by Tokinori Yanagita using synthesized sounds (Japan, 2021)
https://www.youtube.com/watch?v=JmZwqeU3rIw

● Full-ensemble realization of He Nan Pu, done by Tokinori Yanagita using synthesized sounds, revised version 1 (Japan, 2021)

● Full-ensemble realization of He Nan Pu, done by Tokinori Yanagita using synthesized sounds, revised version 2 (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.

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

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Tang-era piece: Xixi Yan《惜惜塩》

Tang-era piece:  Xixi Yan
《惜惜塩》
compiled by David Badagnani (rev. 26 September 2026)

In an effort to make this information more accessible, this document contains resources related to the Tang-era piece entitled Xixi Yan《惜惜塩》, which exists in the form of an instrumental part for a single-movement piece in several sections, in the Dorian mode on E, called Ping diao (平調) in Chinese and Hyōjō in Japanese.

Although it has been proposed that this piece's title translates as "Song of Regret," recent scholarship by the musicologist Zhang Jianhua (张建华) indicates that Xixi Yan (pronounced "Siek-siek Yiem" in Middle Chinese) may derive from a Turkic-language title meaning "Song of the Flowers," čeček or çiçek meaning "flower" and yïr or yır meaning "song" in Turkic languages.

In the Sino-Japanese tradition, this piece is called Seki Seki En『惜惜塩（せきせきえん）』, spelled with an iteration mark in the original manuscript: 『惜〻塩（せきせきえん）』, and it appears in the following score collections:
1) Gogen-fu『五絃譜』or Gogen-kinpu『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.
2) Kagaku ifu『歌楽維譜』, 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; the collection contains flute notation for three movements of Xixi Yan

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 Xixi Yan as a po (破, "broaching") movement in Xing diao (性調; Japanese:  Sei-chō).

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Videos and recordings of Xixi Yan

● Multitrack recording of Xixi Yan, performed by Bilibili user Beilin Zhai Zhuren (北林斋主人), bili, heng di, and percussion (China, 2021)

● Electronic realization of Xixi Yan (5-string pipa only) by YouTube user 古樂尋蹤_HGofACH (Canada, 2021)
https://www.youtube.com/watch?v=v8b2xsnmg1s

● Electronic realization of Xixi Yan (transverse flute only) by YouTube user 古樂尋蹤_HGofACH (Canada, 2021)

● Electronic realization of Xixi Yan (ensemble) by YouTube user 古樂尋蹤_HGofACH (Canada, 2021)

● Electronic realization of Xixi Yan (ensemble) by YouTube user 古樂尋蹤_HGofACH (Canada, 2023)
https://www.youtube.com/watch?v=C3wfM2BBSFI

● Electronic realization of Xixi Yan (Gogen-fu version) by YouTube user 古樂尋蹤_HGofACH (Canada, 2023)
https://www.youtube.com/watch?v=HOuymE8aJfA

● Small-ensemble performance (with dance) of Xixi Yan (Gogen-fu version), performed by the Haus of Imperial Music (上元燕楽舍) (Taiwan, 2024)
https://www.youtube.com/watch?v=OjcCYToxds4

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Bibliography

● 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.]
● 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 and Keith Wong for assistance with this page.

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Tang-era piece: Jiu Cheng Yue《九城樂》

Tang-era piece:  Jiu Cheng Yue
《九城樂》
compiled by David Badagnani (rev. 5 July 2026)

In an effort to make this information more accessible, this document contains resources related to the Tang-era piece entitled Jiu Cheng Yue《九城樂》(Music of the Nine Citadels), which exists in the form of an instrumental part for a single-movement piece in four sections, each comprising 16 measures of 8/4.

As preserved in Sino-Japanese sources, this piece is called Kyūjōraku『九城樂（きゅうじょうらく）』or Kyūseiraku『九城樂（きゅうせいらく）』, and it appears in the following score collection:
● 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)

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Bibliography

● 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.

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Tang-era piece: A Gui Niang《阿媯娘》

Tang-era piece:  A Gui Niang
《阿媯娘》
compiled by David Badagnani (rev. 3 April 2021)

In an effort to make this information more accessible, this document contains resources related to the Tang-era piece entitled A Gui Niang《阿媯娘》, which exists in the form of an instrumental part for a piece.

In the Sino-Japanese tradition, this piece is called Agirō『阿媯娘（あぎろう）』, and it appears in the following score collection:
● 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)

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Bibliography

● Marett, Allan. "Hakuga's Flute-Score: A Tenth-Century Japanese Source of 'Tang-Music' in Tablature." Ph.D. dissertation. Cambridge: University of Cambridge, 1976.

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Friday, April 2, 2021

Tang-era piece: He Wang En《賀王恩》

Tang-era piece:  He Wang En
《賀王恩》
compiled by David Badagnani (rev. 5 July 2026)

In an effort to make this information more accessible, this document contains resources related to the Tang-era piece entitled He Wang En《賀王恩》(Congratulating the Monarch [for His] Benevolence), which exists in the form of instrumental parts for a single-movement piece in the Mixolydian mode on E, called Dashi diao (大食調) in Chinese or Taishiki-chō (太食調) in Japanese.

As preserved in Sino-Japanese sources, this piece is called Ka-ō-on『賀王恩（かおうおん）』, 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) 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 He Wang En as a po (破, "broaching") movement in Dashi diao (大食調), called Taishiki-chō (太食調) in Japanese.

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Videos and recordings of He Wang En

● Full-ensemble realization of He Wang En, done by Tokinori Yanagita using synthesized sounds, revised version 2 (Japan, 2022)

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

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Tang-era piece: Huang Zhang《皇麞》

Tang-era piece:  Huangzhang
《皇麞》
compiled by David Badagnani (rev. 4 July 2026)

In an effort to make this information more accessible, this document contains resources related to the Tang-era piece entitled Huangzhang (《皇麞》or《黄麞》, translated as "Water Deer" or "Yellow Roe"), which exists in the form of instrumental parts for a suite in the Dorian mode on E, called Ping diao (平調) in Chinese and Hyōjō in Japanese. Huangzhang Valley (Chinese: Huangzhang Gu, 黄麞谷) was the site where the Tang general Wang Xiaojie (王孝傑) was killed in battle against Khitan forces during the reign of Empress Wu Zetian, and this piece is said to have been composed in his honor by Emperor Zhongzong.

As preserved in Sino-Japanese sources, this piece is called Ōjō『皇麞（おうじょう）』, 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)

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Chinese historical sources mentioning Huang Zhang

● 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 189 as《黃麞》or《黃獐》:

郭山惲

郭山惲，蒲州河東人。少通《三禮》。景龍中，累遷國子司業。時中宗數引近臣及修文學士，與之宴集，嘗令各效伎藝，以為笑樂。工部尚書張錫為《談容娘舞》，將作大匠宗晉卿舞《渾脫》，左衛將軍張洽舞《黃麞》，左金吾衛將軍杜元琰誦《婆羅門咒》，給事中李行言唱《駕車西河》，中書舍人盧藏用效道士上章。山惲獨奏曰：「臣無所解，請誦古詩兩篇。」帝從之，於是誦《鹿鳴》、《蟋蟀》之詩。奏未畢，中書令李嶠以其詞有「好樂無荒」之語，頗涉規諷，怒為忤旨，遽止之。


● Yuefu Shiji《乐府诗集》by Guo Maoqian (郭茂倩, 1041-1099)
Huang Zhang Ge《黄獐歌》is discussed in volume 86, as follows:

卷八十六

杂歌谣辞四

歌辞四

【黄獐歌】

《唐书·五行志》曰：“如意初，里中歌黄獐。后契丹李尽忠、孙万荣叛，陷营州。则天令总管曹仁师、王孝杰等将兵百万讨之，大败於硖石黄獐谷而死。”朝廷嘉其忠，为造此曲，后亦为舞曲。

黄獐黄獐草里藏，弯弓射尔伤。


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Chinese poems and poetic lyrics mentioning Huang Zhang

《黄獐歌》
(Huang Zhang Ge)
作者：无名氏（唐）
Anonymous (Tang Dynasty)

黄獐黄獐草里藏，弯弓射尔伤。

Notes:

如意年已来，始唱《黄獐歌》。俄而契丹反叛，总管曹仁师、张玄遇、麻仁节、王孝杰，前后百万众，败于硖石黄獐谷，罔有孑遗。


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Videos and recordings of Huang Zhang

● Full-ensemble performance of the Ji movement of Huang Zhang by an ensemble from the Research Centre for Japanese Traditional Music at the Kyoto City University of Arts, dir. Takwa Satoshi (Kyoto, Japan, 2012)

● Performance of Huang Zhang by Xu Ge and his ensemble (China, 2018)
● Full-ensemble realization of Huang Zhang, done by Tokinori Yanagita using synthesized sounds (Japan, 2021)

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

● Electronic realization of Huang Zhang (ensemble) by YouTube user 古樂尋蹤_HGofACH (Canada, 2022)

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

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Thanks to Keith Wong for assistance with this page.

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Tang-era piece: Zui Liangzhou《㝡凉州》

Tang-era piece:  Zui Liangzhou
《㝡凉州》
compiled by David Badagnani (rev. 5 July 2026)

In an effort to make this information more accessible, this document contains resources related to the Tang-era piece entitled Zui Liangzhou《㝡凉州》(The Best of Liangzhou), which exists in the form of instrumental parts for a single-movement zhong qu (中曲, medium-length piece) consisting of 20 measures of 4/2, which is to be performed four times.  Although sometimes performed in Mixolydian mode on D, based on Sino-Japanese lists of piece titles and their associated modes dating back to the 10th century, it appears to have been originally performed in the Lydian mode on D, called Zheng Gong (正宮) or Shatuo diao (沙陀調) in Chinese and Sada-chō (沙陀調) in Japanese.

As preserved in Sino-Japanese sources, this piece is called Sairyōshū『㝡凉州（さいりょうしゅう）』or『最凉州（さいりょうしゅう）』, 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)

According to Biji Manzhi《碧鸡漫志》(mid-12th century), this piece was originally a daqu suite comprising 24 sections in all, but by the time it was transmitted to Japan just a single section remained.

In the Tang Dynasty, Liangzhou《凉州》was the title of a piece of music originating from Liangzhou (modern-day Wuwei, Gansu) in China's far northwest, which had for centuries been an important hub in the Silk Road trade.  Music in Liangzhou style (as well as music from the nearby regions of Ganzhou, Weizhou, and Yizhou, where many skilled musicians settled beginning in the Northern and Southern Dynasties period) was highly fashionable in the Tang capital of Chang'an. Liangzhou's location at the edge of Chinese civilization, and its high degree of influence from the cultures of neighboring Central Asia, gave its music an exotic character that made it especially attractive to Tang-period listeners.

It seems likely that Zui Liangzhou / Sairyōshū《㝡凉州》, as the piece's title appears in Sino-Japanese sources, is a corruption of Xi Liangzhou《西涼州》(Western Liangzhou). A state of this name was in existence beginning in the Sixteen Kingdoms period, and the Xiliang repertory is said to have been developed in the late 4th century, as a blend of Kuchean and Chinese elements.

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 performed music and accompanying dance from various Asian nations, and the first of these divisions was the Guo Ji (国伎, banquet/entertainment music blending Chinese traditions with musics from regions on China's western border). 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 Guo Ji (国伎) was changed from the first to the second division, and its name 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 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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Chinese historical sources mentioning Liangzhou

● 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.  In the text, the title appears as Liangzhou《涼州》.

● Yuefu Zalu《乐府杂录》(Miscellaneous Notes Regarding the Music Bureau)
A collection of small essays (biji, 笔记) by the Tang scholar Duan Anjie (段安节, fl. 880-898), published around 890 near the end of the Tang Dynasty.  This work survives in no fewer than 23 different editions.  An extensively annotated German translation was published by Martin Gimm (b. 1930) in 1966.  In the text, the title appears as "Liangzhou"《涼州》.
https://zh.wikisource.org/zh/%E6%A8%82%E5%BA%9C%E9%9B%9C%E9%8C%84

● Beimeng Suoyan《北梦琐言》(mid-10th century)
In the 逸文卷四 section, the title appears as Liangzhou《涼州》.

● Taiping Guangji《太平广记》(Extensive Records of the Taiping Era) Taiping Guangji is a collection of stories compiled in the early Northern Song Dynasty under imperial direction by the scholar and bureaucrat Li Fang (李昉, 925-996).  The work was completed in 978 and printing blocks were cut, but it was prevented from publication on the grounds that it contained only xiaoshuo (fiction or "insignificant tellings") and thus "was of no use to young students."  It survived in manuscript form until it was eventually published in the Ming Dynasty.  The collection, which is considered one of the Four Great Books of Song, is divided into 500 volumes and consists of about 3 million Chinese characters.  It includes about 7,000 stories selected from over 300 books and novels from the Han Dynasty to the early Song Dynasty, many of which have been lost.  Some stories are historical or naturalistic anecdotes, and each is replete with historical elements, and were not regarded by their authors as fiction, but the topics are mostly supernatural, about Buddhist and Taoist priests, immortals, ghosts, and various deities.  They include a number of Tang Dynasty stories, especially chuanqi (tales of wonder), that are famous works of literature in their own right, and also inspired later works.  In volume 204, the title appears as Liangzhou《涼州》.

● 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.  In volume 216, the title appears as Liangzhou《涼州》.

● 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. Pieces of Liangzhou (涼州) origin are discussed in volume 3.

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Chinese poems and poetic lyrics mentioning Liangzhou

《王家琵琶》
The Pipa in the Prince's Household (Wang Jia Pipa)
作者：张祜（唐）
by Zhang Hu (Tang Dynasty, c. 785-c. 849)

金屑檀槽玉腕明，子弦轻撚为多情。
Over a gold-flecked sandalwood soundbox, jade wrists glow;
Gentle pressure on the thinnest string makes feelings flow.
只愁拍尽凉州破，画出风雷是拨声。
There's only sorrow at the stroke that ends "Liangzhou"'s Po,
Wind and thunder are conjured from that plucked note.

Notes:

In music of the Tang period, po (破, translated as "broaching," "breaking," or "breakdown") was a movement of medium tempo that usually fell between an introductory xu (序, prelude) and a final ji (急, "quick"), movement, essentially taking the form of a development section.

*   *   *   *   *   *   *   *   *

《凉州词二首》
作者：王之涣（唐）
by Wang Zhihuan (Tang Dynasty, 688-742)

其一
黄河远上白云间，一片孤城万仞山。
羌笛何须怨杨柳，春风不度玉门关。

其二
单于北望拂云堆，杀马登坛祭几回。
汉家天子今神武，不肯和亲归去来。

More information:
https://baike.baidu.com/item/%E6%98%A5%E9%A3%8E%E4%B8%8D%E5%BA%A6%E7%8E%89%E9%97%A8%E5%85%B3

*   *   *   *   *   *   *   *   *

《杂曲歌辞 凉州词》
作者：耿湋（中唐）
by Geng Wei (mid-Tang Dynasty)

国使翩翩随旆旌，陇西岐路足荒城。
毡裘牧马胡雏小，日暮蕃歌三两声。

*   *   *   *   *   *   *   *   *

《杂曲歌辞 凉州词》
作者：薛逢（唐）
by Xue Feng (Tang Dynasty, fl. 841)

昨夜蕃兵报国雠，沙州都护破凉州。
黄河九曲今归汉，塞外纵横战血流。

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Videos and recordings of Zui Liangzhou
● Ensemble/vocal performance of Zui Liangzhou by Xu Ge and his ensemble (Beijing, China, 2019) https://www.youtube.com/watch?v=IGIAsiL8BjA

● Recording of Zui Liangzhou, performed by Bilibili user Beilin Zhai Zhuren (北林斋主人), bili (China, 2020)

● Multitrack studio recording of Zui Liangzhou, performed by Bilibili user Beilin Zhai Zhuren (北林斋主人), bili, heng di, and large drum (China, 2020)

● Full-ensemble realization of Zui Liangzhou, done by Tokinori Yanagita using synthesized sounds (Japan, 2021)

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

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

● Full-ensemble and solo pipa realizations of Zui Liangzhou, done by YouTube user 古樂尋蹤_HGofACH using MIDI sounds (Canada, 2022)
https://www.youtube.com/watch?v=HM6EVSgpD-k

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Thanks to Keith Wong for assistance with this page.

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Tang-era piece: Fang Ying Yue《放鷹樂》

Tang-era piece:  Fang Ying Yue
《放鷹樂》
compiled by David Badagnani (rev. 5 July 2026)

In an effort to make this information more accessible, this document contains resources related to the Tang-era piece entitled Fang Ying Yue《放鷹樂》(Releasing the Gyrfalcon Music), 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 Hōyōraku『放鷹樂（ほうようらく）』, 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 Rosei Yōroku, which dates to the 17th century (perhaps 1661)

According to musicologist Steven G. Nelson, in Nara- and early Heian-period Japan (8th and 9th centuries) this piece was sometimes performed for imperial hunting expeditions, during which members of Japan's imperial court hunted with falcons.

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Chinese historical sources mentioning Fang Ying Yue

● Jiaofang Ji《教坊记》(The Conservatory Records)
A collection of short essays by the Tang scholar Cui Lingqin (崔令钦, fl. 749).

● 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.

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Chinese poems mentioning Fang Ying Yue

《放鹰》
(Fang Ying)
作者：白居易（唐）
by Bai Juyi (Tang Dynasty, 772-846)

十月鹰出笼，草枯雉兔肥。
下韝随指顾，百掷无一遗。
鹰翅疾如风，鹰爪利如锥。
本为鸟所设，今为人所资。
孰能使之然，有术甚易知。
取其向背性，制在饥饱时。
不可使长饱，不可使长饥。
饥则力不足，饱则背人飞。
乘饥纵搏击，未饱须絷维。
所以爪翅功，而人坐收之。
圣明驭英雄，其术亦如斯。
鄙语不可弃，吾闻诸猎师。

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Videos and recordings of Fang Ying Yue
● Full-ensemble realization of Fang Ying Yue, done by Tokinori Yanagita using synthesized sounds, revised version 2 (Japan, 2022)

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