Saturday, March 27, 2021

Tang-era piece: Qin He Niao《沁河鳥》

Tang-era piece:  Qin He Niao
《沁河鳥》
compiled by David Badagnani (rev. 6 March 2023)

In an effort to make this information more accessible, this document contains resources related to the Tang-era piece entitled Qin He Niao《沁河鳥》(Birds of the Qin River), which exists in the form of instrumental parts.

As preserved in Sino-Japanese sources, this piece is called Shingachō『沁河鳥（しんがちょう）』, 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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Bibliography

● 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.

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Tang-era piece: Jiu Qing Si《酒清司》

Tang-era piece:  Jiu Qing Si
《酒清司》
compiled by David Badagnani (rev. 19 September 2026)

In an effort to make this information more accessible, this document contains resources related to the Tang-era piece entitled Jiu Qing Si《酒清司》(The Officer-in-Charge of Wine-Clarification), which exists in the form of instrumental parts for a single-movement xiao qu (小曲, small piece) consisting of 8 measures of 4/2, in the Mixolydian mode on D, called Yue diao (越調) in Chinese and Ichikotsu-chō (壹越調) in Japanese.

As preserved in Sino-Japanese sources, this piece is called Shuseishi『酒清司（しゅせいし）』, 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)

Although《酒清司》translates literally as "The Officer-in-Charge of Wine-Clarification," a less common variant title of this title is《酒清詞》(Jiu Qing Ci), which might translate as something like "Lyric on the Clarity (or Clarification) of Wine."  Laurence Picken preferred to translate this title as "The Wine is Clear." Because Jiu Qing Ci《酒清詞》seems to make more sense than Jiu Qing Si《酒清司》, it is possible that the former is the original title, and the latter a corrupted form.

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Videos and recordings of Jiu Qing Si

● Recordings of Jiu Qing Si, as supervised by Laurence Picken and performed by a small ensemble led by Wu Wu-hsing (Taipei, Taiwan, 1972)

● Full-ensemble realization of Jiu Qing Si done by Tokinori Yanagita using synthesized sounds (Japan, 2021)

● Full-ensemble realization of Jiu Qing Si, revised version 1.1, done by Tokinori Yanagita using synthesized sounds (Japan, 2022)

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Bibliography

● Picken, Laurence, 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.

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Tang-era piece: Gan'en Duo《感恩多》

Tang-era piece:  Gan'en Duo
《感恩多》
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 Gan'en Duo《感恩多》(Abundant Gratitude), which exists in the form of instrumental parts.

As preserved in Sino-Japanese sources, this piece is called Ka-o-ta『感恩多（かおた）』, 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)

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Chinese historical sources mentioning Gan'en Duo

● 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 Yulin《唐语林》(Forest of Conversations on the Tang)
This work was compiled by Wang Dang (王谠, c. 1046-c. 1106 or 1107), during the late Northern Song Dynasty (late 11th or early 12th century).  Gan'en Duo is mentioned in volume 4.

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Chinese poems and poetic lyrics mentioning Gan'en Duo

《闻歌妓唱严郎中诗因以绝句寄之》
作者：白居易（唐）
by Bai Juyi (Tang Dynasty, 772-846)

已留旧政布中和，又付新词与艳歌。 
但是人家有遗爱，就中苏小感恩多。

Notes:

严前为郡守


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《留别马使君》
作者：李群玉（唐）
by Li Qunyu (Tang Dynasty, 808-862)

俱来海上叹烟波，君佩银鱼我触罗。
蜀国才微甘放荡，专城年少岂蹉跎。
应怜旅梦千重思，共怆离心一曲歌。
唯有管弦知客意，分明吹出感恩多。


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《赠妓行云等感恩多词》（句）
作者：路岩（唐）
by Lu Yan (Tang Dynasty, 827 or 829-874 or 871)

离魂何处断？烟雨江南岸。

Notes:

按：路侍中岩，风貌之美，为世所闻。镇成都日，委执政于孔目吏边咸，以官妓行云等十人侍宴。移镇渚宫日，于合江亭离筵，赠行云等《感恩多》词。有「离魂」云云。至今播于倡楼也。

《唐语林》四《容止》、《北梦琐言》三


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《感恩多 其一》
作者：牛峤（唐末）
by Niu Qiao or Niu Jiao (late Tang Dynasty, c. 848 or 850-c. 890 or 920)

两条红粉泪，多少香闺意。
彊攀桃李枝，敛愁眉。

陌上莺啼蝶舞，柳花飞。
柳花飞，愿得郎心，忆家还早归。


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《感恩多 其二》
作者：牛峤（唐末）
by Niu Qiao or Niu Jiao (late Tang Dynasty, c. 848 or 850-c. 890 or 920)

自从南浦别，愁见丁香结。 
近来情转深，忆鸳衾。 

几度将书托烟雁，泪盈襟。 
泪盈襟，礼月求天，愿君知我心。


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Videos and recordings of Gan'en Duo

● Recording of Gan'en Duo featuring voice and heng di, performed by Bilibili user 长清居士, who also wrote the lyrics (China, 2020)

● Full-ensemble realization of Gan'en Duo done by Tokinori Yanagita using synthesized sounds, revised version 2.1 (Japan, 2022)

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Tang-era piece: Ganzhou《泔洲》

Tang-era piece:  Ganzhou
《泔洲》
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 Ganzhou (《泔洲》, 《甘州》, or《泔州》), which exists in the form of instrumental parts for a single-movement piece in the Dorian mode on E, called Ping diao (平調) in Chinese and Hyōjō in Japanese.

The prefecture of Ganzhou, which was located in the Hexi Corridor (modern-day Gansu province, located on what was then China's northwestern frontier), was a vital garrison and commercial hub on the Northern Silk Road during the Tang Dynasty, during which time it had significant strategic importance for controlling trade routes with Central Asia. Music in Ganzhou style (as well as music from the nearby regions of Liangzhou, 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. Ganzhou'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.

As preserved in Sino-Japanese sources, this piece is called Kanshū 
『泔洲（かんしゅう; historical form:  かんしう）』.  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)

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Chinese historical sources mentioning Ganzhou

● 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.  Ganzhou appears as《甘州》.

● 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, Ganzhou appears as《甘州》.

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

● 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.  Volume 204 includes references to pieces titled "Ganzhou"《甘州》and "Ganzhou Qu"《甘州曲》.

● 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. Ganzhou is discussed in volume 3.

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Chinese poems and poetic lyrics mentioning the term "Ganzhou"

《杂曲歌辞 甘州》（羽调曲）
作者：无名氏（唐）
Anonymous (Tang Dynasty, 618-907)

欲使传消息，空书意不任。 
寄君明月镜，偏照故人心。


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Videos and recordings of Ganzhou

● Full-ensemble performance, with dance, of Ganzhou by Xu Ge and his ensemble (China, 2018)
https://www.bilibili.com/video/BV1Ct411d79j

● Performance of Ganzhou by Bilibili user Beilin Zhai Zhuren (北林斋主人), heng di (China, 2020) (dead link)

● Performance of Ganzhou by Bilibili user Beilin Zhai Zhuren (北林斋主人), heng di (China, 2020) (dead link)

● Solo heng di performance of Ganzhou by Bilibili user 长清居士 (China, 2020)

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

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

● Full-ensemble realization of Ganzhou done by Tokinori Yanagita using synthesized sounds, revised version 2 (Japan, 2021)

● Transverse flute realization of Ganzhou, done by Bilibili user 冯氏羊肉馆 using sampled sounds (China, 2022)

● Full-ensemble realization of Ganzhou, done by Bilibili user 冯氏羊肉馆 (China, 2022)

● Full-ensemble realization of a Meiji-era version of Ganzhou, done by Tokinori Yanagita using synthesized sounds (Japan, 2021)

● Performance of a Kamakura-style reconstruction of Ganzhou by a gagaku ensemble (with bugaku dance) (Kyoto, Japan, 2026)

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Friday, March 26, 2021

Tang-era piece: Cai Sang Lao《採桑老》

Tang-era piece:  Cai Sang Lao
《採桑老》
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 Cai Sang Lao《採桑老》(The Old Mulberry[-Leaf] Gatherer), which exists in the form of instrumental parts for a single-movement piece consisting of 12 measures of 8/4, in the Dorian mode on B, called Banshe diao (盤渉調) in Chinese and Banshiki-chō in Japanese.

As preserved in Sino-Japanese sources, the title of piece is written either『採桑老』or『採桒老』in kanji, and pronounced either Saishōrō (さいしょうろう) or Saisōrō (さいそうろう).  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)

This piece's title may translate to "The Old [Person] Picks Mulberry [Leaves]," and the phrase cai sang (采桑) appears in numerous Chinese poems and lyrics dating back as far as the Western Han Dynasty, continuing to appear in poems created in each subsequent dynasty of Chinese history.

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Chinese historical sources mentioning Cai Sang Lao

● 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).  The title appears as Cai Sang《采桑》and Yang Xia Cai Sang《楊下采桑》.

● 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 San Zhou Cai Sang《三洲采桑》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 Liang Xia Cai Sang《涼下採桑》.

● 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 as Cai Sang《採桑》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.  The title appears as San Zhou Cai Sang《三洲採桑》in volume 33.

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

● Yuefu Shiji《乐府诗集》by Guo Maoqian (郭茂倩, 1041-1099)
The title appears in volume 47 as Cai Sang Du《采桑度》.

● 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 "Cai Sang"《采桑》.

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Chinese poems and poetic lyrics mentioning the term "Cai Sang" (采桑 or 採桑)

《陌上桑》
Mulberry Lane (Mo Shang Sang)
汉佚名乐府诗
Anonymous Yuefu poem (Han Dynasty)

日出东南隅，照我秦氏楼。秦氏有好女，自名为罗敷。罗敷喜蚕桑，采桑城南隅。青丝为笼系，桂枝为笼钩。头上倭堕髻，耳中明月珠。缃绮为下裙，紫绮为上襦。行者见罗敷，下担捋髭须。少年见罗敷，脱帽着帩头。耕者忘其犁，锄者忘其锄。来归相怨怒，但坐观罗敷。

使君从南来，五马立踟蹰。使君遣吏往，问是谁家姝？“秦氏有好女，自名为罗敷。”“罗敷年几何？”“二十尚不足，十五颇有余。”使君谢罗敷：“宁可共载不？”罗敷前致辞：“使君一何愚！使君自有妇，罗敷自有夫！”

“东方千余骑，夫婿居上头。何用识夫婿？白马从骊驹，青丝系马尾，黄金络马头；腰中鹿卢剑，可值千万余。十五府小吏，二十朝大夫，三十侍中郎⒄，四十专城居。为人洁白晰，鬑鬑颇有须。盈盈⒆公府步，冉冉府中趋。坐中数千人，皆言夫婿殊。”  


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《采桑》
Picking Mulberry [Leaves] (Cai Sang)
作者：张祜（唐）
by Zhang Hu (Tang Dynasty, c. 785-c. 849)

自古多征战，由来尚甲兵。
长驱千里去，一举两蕃平。
按剑从沙漠，歌谣满帝京。
寄言天下将，须立武功名。

Notes:

羽调曲，一云本清商西曲，又有《杨下采桑》。


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《杂曲歌辞 杨下采桑》
作者：张祜（唐）
by Zhang Hu (Tang Dynasty, c. 785-c. 849)

飞丝惹绿尘，软叶对孤轮。
今朝入园去，物色强著人。


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Videos and recordings of Cai Sang Lao

● Solo heng di performance of Cai Sang Lao by Bilibili user 长清居士 (China, 2020)

● Full-ensemble realization of Cai Sang Lao done by Tokinori Yanagita using synthesized sounds (Japan, 2021)

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

● Full-ensemble realization of Cai Sang Lao done by Tokinori Yanagita using synthesized sounds, revised version 4 (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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Tang-era piece: Chenghe Yue《承和樂》

Tang-era piece:  Chenghe Yue
《承和樂》
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 Chenghe Yue《承和樂》(Music of Inherited Harmony or Music of Continuing Harmony), which exists in the form of instrumental parts for a single-movement zhong qu (中曲, medium-length piece) consisting of 10 measures of 4/2, in the Mixolydian mode on D, called Yue diao (越調) in Chinese and Ichikotsu-chō (壹越調) in Japanese.

As preserved in Sino-Japanese sources, this piece is called Shōwaraku『承和樂（しょうわらく）』, 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)

Although this title appears in Chinese sources as a piece of court ceremonial music, it is likely that the Chenghe Yue preserved in Sino-Japanese tablatures was created in Japan by Ōto no Kiyogami (大戸清上, d. 839; also known as Seijō), a Japanese flute master of the early Heian period, probably based on thematic material of Tang origin; this is supported by the fact that Japanese visitors to Tang China are unlikely to have been given access to any ceremonial music of the inner court (Picken 1987, p. 46).  It seems likely that the title was based on Jōwa (承和), the era name spanning 834 to 848, during the reign of Emperor Ninmyō (r. 833-850) in the Heian period.  Since Ōto no Kiyogami died in 839, this piece should have been composed sometime between 834 and 839.

Evidence also indicates that this piece formerly had a prelude (which was lost in "mid-antiquity"), meaning that Chenghe Yue, when formerly performed as part of a suite, was originally a po (破; Japanese:  ha), or "broaching" movement.

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Chinese historical sources mentioning Cheng He Yue

● 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).  A ritual piece entitled Cheng He《承和》is discussed in volume 21:

● Yuefu Shiji《乐府诗集》by Guo Maoqian (郭茂倩, 1041-1099)
The lyrics for two different ritual pieces entitled Cheng He《承和》are included in volume 7:

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Videos and recordings of Chenghe Yue

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

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

● Full-ensemble realization of Chenghe Yue, done by Tokinori Yanagita using synthesized sounds, revised version 3 (Japan, 2021)

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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. 4.  Cambridge:  Cambridge University Press, 1987.
● 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.

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Thursday, March 25, 2021

Tang-era piece: Ruyi Niang《如意娘》

Tang-era piece:  Ruyi Niang
《如意娘》
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 Ruyi Niang《如意娘》(The Wish-Fulfilling Lady, probably referring to Empress Wu Zetian), which exists in the form of an instrumental part for a single-movement piece.

In the Japanese tradition, this piece is called Nyoirō『如意娘（にょいろう）』, 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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Chinese historical sources mentioning Ruyi Niang

● 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).
https://zh.wikisource.org/zh/%E6%95%99%E5%9D%8A%E8%A8%98

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Tang-era lyrics for Ruyi Niang

《杂曲歌辞 如意娘》
Song Lyrics for Miscellaneous Melodies: Ruyi Niang (Za Qu Geci: Ruyi Niang)
作者：武则天（唐）
by Wu Zetian (Tang Dynasty, 624-705)

看朱成碧思纷纷，憔悴支离为忆君。
Watching vermilion turn to green, my thoughts entangled and scattered,
I am disheveled and torn from my longing for you, my lord.
不信比来长下泪，开箱验取石榴裙。
If you fail to believe that of late I have constantly shed tears,
Open the chest and look for the pomegranate skirt.


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Videos and recordings of Ruyi Niang

● Solo performance of Ruyi Niang, as arranged by Liu Hongjun, performed by Shao Rong (5-string pipa) (probably China or Japan, c. 2007)

● Solo performance of Ruyi Niang, performed by Xu Bilan (shu konghou) (probably China, 2012)

● Realization of Ruyi Niang (Gogen-fu version) by Bilibili user 雪狼的天空 using synthesized sounds (China, 2021)

● Electronic realization of Ruyi Niang (Gogen-fu version) by YouTube user 古樂尋蹤_HGofACH (Canada, 2022)

● Small-ensemble performance (with dance) of Ruyi Niang (Gogen-fu version), as reconstructed by Chen Yingshi, performed by the Haus of Imperial Music (上元燕楽舍) (Taiwan, 2023)

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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: Sumozhe《蘇莫者》

Tang-era piece:  Sumozhe
《蘇莫者》
compiled by David Badagnani (rev. 19 September 2026)

In an effort to make this information more accessible, this document contains resources related to the Tang-era piece entitled Sumozhe《蘇莫者》, which exists in the form of instrumental parts for a suite in the Dorian mode.

As preserved in Sino-Japanese sources, this piece is called Somakusha『蘇莫者（そまくしゃ）』or『蘓莫者（そまくしゃ）』, 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

The title of this piece, which also appears in historical sources variously as "Sumozhe"《蘇莫遮》, "Sumozhe"《蘇摩遮》, "Sumuzhe"《蘇幕遮》, or "Sumuzhe"《蘇幙遮》, is a transliteration of the name of a water-splashing festival celebrated in the oasis states of Central Asia, which was introduced to Chang'an via the Buddhist kingdom of Kucha (in what is today west-central Xinjiang) by the 6th or 7th century. The Central Asian name likely derived from the Sanskrit term samāja (समाज), meaning "assembly" or "gathering," India exerting a strong influence on the language, culture, and religion of Kucha.​

In China, this festival, which was celebrated in the seventh lunar month, enjoyed popularity in the Tang court, especially during the reigns of Empress Wu Zetian (r. 690-705) and Emperor Zhongzong (r. 705-710), and also became popular in Heian-period Japan.  It took the form of a boisterous carnival, featuring music, dance, ambulatory drama involving the wearing of costumes and masks, and, most characteristically, the splashing of water.

In Hakuga Fue-fu, Sumozhe 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).  It is recorded to have been performed in Japan since the Nara period (mid-8th century).

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Chinese historical sources mentioning Sumozhe

● 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).  Sumozhe appears as "Sumuzhe"《蘇幕遮》.
https://zh.wikisource.org/zh/%E6%95%99%E5%9D%8A%E8%A8%98

● 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.  Sumozhe is mentioned in volume 33, where it appears as "Sumozhe"《蘇莫遮》.
http://www.guoxue123.com/shibu/0401/01thyf/035.htm

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Tang-era lyrics for Sumozhe

《杂曲歌辞 其一 苏摩遮》
作者：张说（唐）
by Zhang Yue (Tang Dynasty, 667 or 663-730)

摩遮本出海西胡，琉璃宝服紫髯胡。
闻道皇恩遍宇宙，来将歌舞助欢娱。


*   *   *   *   *   *   *   *   *

《杂曲歌辞 其二 苏摩遮》
作者：张说（唐）
by Zhang Yue (Tang Dynasty, 667 or 663-730)

绣装帕额宝花冠，夷歌骑舞借人看。
自能激水成阴气，不虑今年寒不寒。


*   *   *   *   *   *   *   *   *

《杂曲歌辞 其三 苏摩遮》
作者：张说（唐）
by Zhang Yue (Tang Dynasty, 667 or 663-730)

腊月凝阴积帝台，豪歌急鼓送寒来。
油囊取得天河水，将添上寿万年杯。


*   *   *   *   *   *   *   *   *

《杂曲歌辞 其四 苏摩遮》
作者：张说（唐）
by Zhang Yue (Tang Dynasty, 667 or 663-730)

寒气宜人最可怜，故将寒水散庭前。
惟愿圣君无限寿，长取新年续旧年。


*   *   *   *   *   *   *   *   *

《杂曲歌辞 其五 苏摩遮》
作者：张说（唐）
by Zhang Yue (Tang Dynasty, 667 or 663-730)

昭成皇后帝家亲，荣乐诸人不比伦。
往日霜前花委地，今年雪后树逢春。


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Chinese poems mentioning Sumozhe

《苏幕遮》
(Sumuzhe)
作者：吕岩（唐）
by Lü Yan (Tang Dynasty, fl. ca. 874)

天不高，地不大，惟有真心，物物俱含载。
不用之时全体在，用即拈来，万象周沙界。

虚无中，尘色内，尽是还丹，历历堪收采。
这个鼎炉解不解，养就灵乌，飞出光明海。


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Videos and recordings of Sumozhe

● Two recordings of Sumozhe, as supervised by Laurence Picken and performed by a small ensemble led by Wu Wu-hsing (Taipei, Taiwan, 1972)

● Full-ensemble realization of Sumozhe by Bilibili user männlichkeit (China, 2021)

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

● Full-ensemble realization of Sumozhe, done by Tokinori Yanagita using synthesized sounds, revised version 3 (Japan, 2022)

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Bibliography

● Compareti, Matteo.  "The Paintings Concerning Chinese Themes at Afrāsyāb."  In New Elements on the Chinese Scene in the 'Hall of the Ambassadors' at Afrāsyāb Along with a Reconsideration of 'Zoroastrian' Calendar.  Venice: Cascarina, 2007, pp. 19-20.
​● Eckardt, Hans. "Somakusa."  Sinologica, vol. 3, no. 3 (1953), pp. 182, 184.
● Marett, Allan.  "Tunes Notated in Flute-Tablature from a Japanese Source of the Tenth Century."  Musica Asiatica, vol. 1 (1977), pp. 1-59.
● Pelliot, Paul.  "Tokharien et Koutchéen."  Journal Asiatique, vol. 224 (1934), pp. 23-106 (esp. p. 104).
● 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.
● Rothschild, Norman Harry.  "Why is it Necessary for Naked Savages to Drum and Dance?  Early Tang Imperial Responses to a Sogdian Hibernal Festival."  Fudan Journal of the Humanities and Social Sciences, vol. 8 (2015), pp. 65-80.
● Rothschild, Norman Harry.  "Sumozhe Suppressed, Huntuo Halted:  An Investigation into the Nature and Stakes of the Cold-Splashing Sogdian Festal Dramas Performed in Early Eighth Century Tang China."  In Frontiers of History in China, vol. 12, no. 2 (2017), pp. 262-300.
● Schaab-Hanke, Dorothee.  "Die Entwicklung des höfischen Theaters in China zwischen dem 7. und 10. Jahrhundert."  Gossenberg, Germany:  OSTASIEN Verlag, 2011, pp. 28-29.
● 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.

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