Author:
Avital Rom
School:
University of Cambridge
Defended:
2019
Abstract:
What are the socio-political roles of music? Why do people write about music? These are the essential questions underpinning this dissertation. The study interrogates early Chinese thinkers' engagement with music in political, philosophical, and military treatises of the Warring States (戰國, 453-221 BCE) and Western Han (西漢 206 BCE-9 AD) periods. In a few words, it can be defined as 'a socio-political analysis of musical references in Warring States and Han China.' This study traces and analyses musico-political links in texts dating to these periods. In doing so, it demonstrates how textual references to music may be used as rhetorical tools, attesting to ideological conflicts raging within early Chinese society.
In the first chapter I argue for a new understanding pertaining to perceptions of sound in early China. By re-examining language and contents of passages relating to sound from some of the most widely-read musical discussions of the period (in particular Xunzi's 荀子 ca. 340-ca.245 BCE 'Discourse on Music' 樂論), I substantiate that sounds were, in fact, perceived by early Chinese thinkers not only as joyful and educating - as previously emphasised by critics - but also emotionally compelling and, moreover, potentially dangerous. In this quality of sounds lies the key to understanding the power of music in early Chinese texts, which is examined in detail throughout the four remaining chapters of my work. Chapter two discusses the terms and terminology used by critics in deeming music 'good' or 'bad' in early China. It argues that music critics tended to ground their musical arguments in ethical rather than aesthetical reasonings, and used music criticism to establish and maintain the sense of local or social identities. Chapter three examines the role music and sound played in the military, and argues that within the context of warfare, drums were perceived as sonic communication devices rather than musical instruments per see. Finally, chapter Four explores conceptualisations of silence and soundlessness, claiming that silence was perceived both positively - as the ancestor of sound, and negatively - as an indicator of ignorance. The thesis as a whole aims to explore the boundaries of the musical in early China and reveal how both the musical and the boundaries between the musical and the non-musical served intellectuals rhetorically and ideologically.
Ultimately, I suggest, it is through the lens of music (albeit music that does not itself survive to us in sound) that one can unveil multiple aspects of early Chinese social, political, and intellectual life that have not, up to this point, been examined in scholarly literature.
Showing posts with label Music 音樂. Show all posts
Showing posts with label Music 音樂. Show all posts
Saturday, April 4, 2020
Friday, March 13, 2020
[Dissertation] The Buddha’s Voice: Ritual Sound And Sensory Experience In Medieval Chinese Religious Practice
Author:
Kelsey Seymour
Date of Award:
2018
School:
University of Pennsylvania
Abstract:
This dissertation explores Buddhist chanting practices in mainly the Tang dynasty (618–907 CE), showing that they were more than just one part of ritual practice: chanting could also be a type of music, an educational tool, a means for manipulating the supernatural, and a cure and cause of illness. Previous studies of chanting practices in Chinese Buddhism have addressed histories of transmission, doctrinal approaches, and made efforts to preserve melodies through notation. However, they do not necessarily capture how individuals who engaged in chanting experienced this practice. Therefore this dissertation aims to investigate this experience through accounts found in hagiography, miracle tales, and other Buddhist materials. In studying chanting from this perspective, we can see how local and individual experiences, goals, and needs interacted with practices, and how these practices operated within Chinese Buddhist communities. Furthermore, we can understand how and when these understandings and practices were informed by scripture, and when they were not, through how individuals performed, listened to, and promoted them.
Table of Contents:
Introduction
Chapter 1 Chant and Music
Chapter 2 Experts of Memory:
Chanting as a Method and Verification of Learning
Chapter 3 Gods, Demons, Ghosts, and Men, Lend Me Your Ears:
Hearing Buddhist Sounds in Medieval China
Chapter 4 Sound Objects and Sound Bodies:
The Materiality of the Voice in Buddhist Miracle Tales
Chapter 5 Therapeutic Tones and Hazardous Hymns:
The Relationship between Sound and Health in Tang Dynasty Buddhism
Kelsey Seymour
Date of Award:
2018
School:
University of Pennsylvania
Abstract:
This dissertation explores Buddhist chanting practices in mainly the Tang dynasty (618–907 CE), showing that they were more than just one part of ritual practice: chanting could also be a type of music, an educational tool, a means for manipulating the supernatural, and a cure and cause of illness. Previous studies of chanting practices in Chinese Buddhism have addressed histories of transmission, doctrinal approaches, and made efforts to preserve melodies through notation. However, they do not necessarily capture how individuals who engaged in chanting experienced this practice. Therefore this dissertation aims to investigate this experience through accounts found in hagiography, miracle tales, and other Buddhist materials. In studying chanting from this perspective, we can see how local and individual experiences, goals, and needs interacted with practices, and how these practices operated within Chinese Buddhist communities. Furthermore, we can understand how and when these understandings and practices were informed by scripture, and when they were not, through how individuals performed, listened to, and promoted them.
Table of Contents:
Introduction
Chapter 1 Chant and Music
Chapter 2 Experts of Memory:
Chanting as a Method and Verification of Learning
Chapter 3 Gods, Demons, Ghosts, and Men, Lend Me Your Ears:
Hearing Buddhist Sounds in Medieval China
Chapter 4 Sound Objects and Sound Bodies:
The Materiality of the Voice in Buddhist Miracle Tales
Chapter 5 Therapeutic Tones and Hazardous Hymns:
The Relationship between Sound and Health in Tang Dynasty Buddhism
Saturday, January 18, 2020
Contacts between the Shang and the south c. 1300-1045 BC : resemblance and resistance
Author:
Celine Lai
Publisher:
Oxford: BAR Publishing
Publication date:
2019
Abstract:
This monograph presents the first thorough study of the bronzes from south-central China. The finds from the Yangtze areas have conventionally been thought to have been entirely inspired by Shang traditions and ritual practices in Henan. This monograph applies the perspective of materiality to argue otherwise. Through investigations of three main bronze types: ritual vessels, bells and weapons, the author suggests that the Yangtze societies were far more independent from the Shang traditions than most archaeologists have understood them to have been.
Table of Contents:
Introduction
Case Study I: Bronze Ritual Vessels
Case Study II: Bronze Nao 鐃 Bells
Case Study III: Bronze Weapons
Celine Lai
Publisher:
Oxford: BAR Publishing
Publication date:
2019
Abstract:
This monograph presents the first thorough study of the bronzes from south-central China. The finds from the Yangtze areas have conventionally been thought to have been entirely inspired by Shang traditions and ritual practices in Henan. This monograph applies the perspective of materiality to argue otherwise. Through investigations of three main bronze types: ritual vessels, bells and weapons, the author suggests that the Yangtze societies were far more independent from the Shang traditions than most archaeologists have understood them to have been.
Table of Contents:
Introduction
Case Study I: Bronze Ritual Vessels
Case Study II: Bronze Nao 鐃 Bells
Case Study III: Bronze Weapons
Tuesday, October 22, 2019
磚画・壁画からみた魏晋時代の河西
Editors:
關尾史郎 (Sekio Shiro)、
町田隆吉 (Machida, Takayoshi)
Publication date:
September 2019
Publisher:
汲古書院
Table of Contents:
はしがき/關尾史郎
第一部 総 論
河西各地の魏晋墓出土画像磚について――出土資料の問題点と今後の展望――/北村 永
河西磚画墓とその時代――新城墓群を中心として――/關尾史郎
敦煌祁家湾古墓出土「五胡十六国」時代の磚画をめぐって――敦煌地区における来世観とその周辺――/町田隆吉
魏晋時代河西の壁画墓と壁画の一面――遼陽との比較を通して――/三﨑良章
第二部 各 論
河西出土文物から見た朝服制度の受容と変容――魏晋・五胡期、胡漢混淆地帯における礼制伝播のあり方――/小林 聡
魏晋時代の河西にみられる楽器――琵琶系楽器・琴瑟系楽器・洞簫系楽器を中心に――/荻 美津夫
画像資料に見る魏晋時代の武器――河西地域を中心として――/内田宏美
甘粛省河西地方出土の犂耕関係画像一覧（稿）/渡部 武
引用文献目録
あとがき（町田隆吉）
關尾史郎 (Sekio Shiro)、
町田隆吉 (Machida, Takayoshi)
Publication date:
September 2019
Publisher:
汲古書院
Table of Contents:
はしがき/關尾史郎
第一部 総 論
河西各地の魏晋墓出土画像磚について――出土資料の問題点と今後の展望――/北村 永
河西磚画墓とその時代――新城墓群を中心として――/關尾史郎
敦煌祁家湾古墓出土「五胡十六国」時代の磚画をめぐって――敦煌地区における来世観とその周辺――/町田隆吉
魏晋時代河西の壁画墓と壁画の一面――遼陽との比較を通して――/三﨑良章
第二部 各 論
河西出土文物から見た朝服制度の受容と変容――魏晋・五胡期、胡漢混淆地帯における礼制伝播のあり方――/小林 聡
魏晋時代の河西にみられる楽器――琵琶系楽器・琴瑟系楽器・洞簫系楽器を中心に――/荻 美津夫
画像資料に見る魏晋時代の武器――河西地域を中心として――/内田宏美
甘粛省河西地方出土の犂耕関係画像一覧（稿）/渡部 武
引用文献目録
あとがき（町田隆吉）
Sunday, October 14, 2018
[Dissertation] In Tune With The Cosmos: Tuning Theory, Cosmology, And Concepts Of Sound In Early China
Author:
Noa Hegesh
School:
University of Pennsylvania
Date of Award:
2018
Abstract:
This dissertation explores tuning theories, concepts of sound, and their relation to cosmology in China between the mid-third century B.C.E. and the first century C.E. My overall argument is twofold: First, I argue that to truly understand musical thought in early China, we must realize that it was perceived as a technology. Sound and tuning, especially in a cosmological context, were often discussed in mathematical terms. Second, I argue that for the same reason, we must understand how this technology functioned not only in relation to musical performance per se, but also in what we consider today as non-musical settings, such as mathematical astronomy, the standardization of weights and measures, and divination techniques. Early Chinese authors thought about sound as resonating qi emanating from the cosmos. Its calculation, manipulation, categorization, and measuring were central to the synchronization between the human and cosmic realms.
Part one of the dissertation discusses the gradual introduction of cosmological ideas into existing musical systems around the mid-third century B.C.E. As a result, some texts began discussing sound in numerical terms, as part of theories that aimed to measure the regularities of cosmic processes. Part two explores developments in acoustics and the concept of cosmological sound, through an analysis of a case study from the Western Han: Jing Fang 京房 and his tuning theory, which divided the octave into sixty tuning standards. I also provide an annotated translation of the first section of the “Treatises on Tuning Standards and Mathematical Astronomy” (“Lüli zhi” 律歷志) in the History of the Later Han. Part Three explores the concept of imperial control in Wang Mang’s brief Xin dynasty, examining the connections between sound, metrological practices, and the ideologies and philosophies that provided cosmological meaning to metrological choices. I argue that despite the court’s rhetoric of universal standardization, anchored in the dimensions of the Huangzhong pitch pipe, in reality these acts of standardization may not have succeeded far beyond the court’s immediate sphere of influence.
Noa Hegesh
School:
University of Pennsylvania
Date of Award:
2018
Abstract:
This dissertation explores tuning theories, concepts of sound, and their relation to cosmology in China between the mid-third century B.C.E. and the first century C.E. My overall argument is twofold: First, I argue that to truly understand musical thought in early China, we must realize that it was perceived as a technology. Sound and tuning, especially in a cosmological context, were often discussed in mathematical terms. Second, I argue that for the same reason, we must understand how this technology functioned not only in relation to musical performance per se, but also in what we consider today as non-musical settings, such as mathematical astronomy, the standardization of weights and measures, and divination techniques. Early Chinese authors thought about sound as resonating qi emanating from the cosmos. Its calculation, manipulation, categorization, and measuring were central to the synchronization between the human and cosmic realms.
Part one of the dissertation discusses the gradual introduction of cosmological ideas into existing musical systems around the mid-third century B.C.E. As a result, some texts began discussing sound in numerical terms, as part of theories that aimed to measure the regularities of cosmic processes. Part two explores developments in acoustics and the concept of cosmological sound, through an analysis of a case study from the Western Han: Jing Fang 京房 and his tuning theory, which divided the octave into sixty tuning standards. I also provide an annotated translation of the first section of the “Treatises on Tuning Standards and Mathematical Astronomy” (“Lüli zhi” 律歷志) in the History of the Later Han. Part Three explores the concept of imperial control in Wang Mang’s brief Xin dynasty, examining the connections between sound, metrological practices, and the ideologies and philosophies that provided cosmological meaning to metrological choices. I argue that despite the court’s rhetoric of universal standardization, anchored in the dimensions of the Huangzhong pitch pipe, in reality these acts of standardization may not have succeeded far beyond the court’s immediate sphere of influence.
Sunday, August 26, 2018
[Dissertation] Courtly Exchange and the Rhetoric of Legitimacy in Early Medieval China
Author:
KOU Lu 寇陸
Defended:
2018
School:
Harvard University
Abstract:
This dissertation explores the power of words to fashion state legitimacy in early medieval China (the 4th–7th centuries CE). Known as the Northern and Southern Dynasties (Nanbeichao 南北朝), this was a period of political division and fragmentation in which several rival states vied for dominance. This dissertation examines the “cultural wars” that were waged among rival court centers and analyzes the writings produced at and for moments of interstate contact—including the exchange of diplomats, gifts, and letters, which formed a highly contentious ground for competing claims of political and cultural supremacy. It discusses how royal power was carefully represented in material and discursive forms to both awe subjects and intimidate enemies in the medieval court culture, and how legitimacy became a problematic concept that was subject to interpretation and contention during this volatile age.
The first chapter focuses on diplomatic visits and court representatives’ verbal banter. It studies both the “discursive battles” between diplomats and the articulation of hospitality and hostility in poetic genres. The second chapter looks at court compositions on foreign gifts and examines the rhetorical devices used to create and domesticate “the foreign” as a way of proclaiming cultural superiority. Epistolary communication is the topic of the third chapter, in which I investigate the “politics of intimacy” in letters sent across dynastic boundaries. In other words, I argue that seemingly “private” letters—for example, those between friends or between a mother and a son—were intended for public consumption and that the individual voices were subject to states’ exploitation for the purpose of political manipulation. The fourth chapter moves to the unified empire of the Sui (581–619) and early Tang (619–907) and continues to examine the negotiation among different cultural groups, this time in the new political context of unification. I use music as a critical lens to demonstrate that, through meticulous debates over what constituted “orthodox,” “decadent,” and “foreign” music for the empire, “sound” became politicized and was used as a tool of mind control and to shape new political identities. Taken together, these chapters discuss the verbal construction and negotiation of essential concepts such as “legitimacy,” “emperorship,” and “cultural orthodoxy” during the early medieval period.
Following previous scholarly attempts to problematize the “constructedness” of the North and South, this dissertation continues to redress the essentialization of the northern and southern cultures as monolithic and static stereotypes and reveal the complexity of cultural exchanges in the context of court culture in early medieval China. Based on detailed textual analysis of a variety of genres, including envoys’ recorded conversations, poems, poetic expositions, letters, and other “non-literary” genres, I show how elites in both the north and the south employed a shared cultural repertoire and discourse to negotiate the state’s claim to universal authority and fashion different cultural identities. I argue that rhetoric—the adroit manipulation of words and signifying practices—played an active role in constructing “legitimacy,” reconfiguring political reality, and envisioning cultural boundaries. It was through the appropriation of rhetoric and its effects that elites were able to define “self” and “others” and anchor themselves within an imagined cultural lineage.
KOU Lu 寇陸
Defended:
2018
School:
Harvard University
Abstract:
This dissertation explores the power of words to fashion state legitimacy in early medieval China (the 4th–7th centuries CE). Known as the Northern and Southern Dynasties (Nanbeichao 南北朝), this was a period of political division and fragmentation in which several rival states vied for dominance. This dissertation examines the “cultural wars” that were waged among rival court centers and analyzes the writings produced at and for moments of interstate contact—including the exchange of diplomats, gifts, and letters, which formed a highly contentious ground for competing claims of political and cultural supremacy. It discusses how royal power was carefully represented in material and discursive forms to both awe subjects and intimidate enemies in the medieval court culture, and how legitimacy became a problematic concept that was subject to interpretation and contention during this volatile age.
The first chapter focuses on diplomatic visits and court representatives’ verbal banter. It studies both the “discursive battles” between diplomats and the articulation of hospitality and hostility in poetic genres. The second chapter looks at court compositions on foreign gifts and examines the rhetorical devices used to create and domesticate “the foreign” as a way of proclaiming cultural superiority. Epistolary communication is the topic of the third chapter, in which I investigate the “politics of intimacy” in letters sent across dynastic boundaries. In other words, I argue that seemingly “private” letters—for example, those between friends or between a mother and a son—were intended for public consumption and that the individual voices were subject to states’ exploitation for the purpose of political manipulation. The fourth chapter moves to the unified empire of the Sui (581–619) and early Tang (619–907) and continues to examine the negotiation among different cultural groups, this time in the new political context of unification. I use music as a critical lens to demonstrate that, through meticulous debates over what constituted “orthodox,” “decadent,” and “foreign” music for the empire, “sound” became politicized and was used as a tool of mind control and to shape new political identities. Taken together, these chapters discuss the verbal construction and negotiation of essential concepts such as “legitimacy,” “emperorship,” and “cultural orthodoxy” during the early medieval period.
Following previous scholarly attempts to problematize the “constructedness” of the North and South, this dissertation continues to redress the essentialization of the northern and southern cultures as monolithic and static stereotypes and reveal the complexity of cultural exchanges in the context of court culture in early medieval China. Based on detailed textual analysis of a variety of genres, including envoys’ recorded conversations, poems, poetic expositions, letters, and other “non-literary” genres, I show how elites in both the north and the south employed a shared cultural repertoire and discourse to negotiate the state’s claim to universal authority and fashion different cultural identities. I argue that rhetoric—the adroit manipulation of words and signifying practices—played an active role in constructing “legitimacy,” reconfiguring political reality, and envisioning cultural boundaries. It was through the appropriation of rhetoric and its effects that elites were able to define “self” and “others” and anchor themselves within an imagined cultural lineage.
Tuesday, October 17, 2017
Early China 40 (2017) 《古代中國》第40期
Table of Contents:
Letter from the Editor: Early China at 40
SARAH ALLAN
OBITUARY
David Noel Keightley (1932–2017)
SARAH ALLAN
Remembrances of David Keightley
MIRANDA BROWN, DAVID D. BUCK, RODERICK B. CAMPBELL, JONATHAN CHAVES, CONSTANCE A. COOK, LOTHAR VON FALKENHAUSEN, MARIÁN GÁLIK, ZEV HANDEL, KUAN-YUN HUANG, LIONEL M. JENSEN, STEVEN I. LEVINE, LI LING, LI XUEQIN, PAUL ROPP, EDWARD L. SHAUGHNESSY
FRANK JOSEPH SHULMAN 5
David Noel Keightley (1932–2017), Publications and Unpublished
Writings: A Comprehensive Bibliography and Research Guide
FRANK JOSEPH SHULMAN
ARTICLES
Early Chinese Manuscript Writings for the Name of the Sage Emperor Shun 舜, and the Legacy of Warring States Period Orthographic Variation in Early Chinese Received Texts
ADAM D. SMITH
Mozi and the Ghosts: The Concept of Ming 明 in Mozi’s “Ming gui” 明鬼
PIOTR GIBAS
Echoing Rulership: Understanding Musical References in the Huainanzi
AVITAL H. ROM
Introduction to the Peking University Han Bamboo Strips: On the Authentication and Study of Purchased Manuscripts
CHRISTOPHER J. FOSTER
EXCAVATED TEXT TRANSLATION
The Wuwei Medical Manuscripts: A Brief Introduction and Translation
YANG YONG and MIRANDA BROWN
RESEARCH NOTE
To Punish the Person: A Reading Note Regarding a Punctuation Mark in the Tsinghua Manuscript *Ming Xun
EDWARD L. SHAUGHNESSY
BOOK REVIEWS
Stephen Durrant, Wai-yee Li, Michael Nylan, and Hans van Ess. The Letter to Ren An and Sima Qian’s Legacy
LEI YANG
Barbieri-Low Anthony J., and Robin D. S. Yates. Law, State, and Society in Early Imperial China: A Study with Critical Edition and Translation of the Legal Texts from Zhangjiashan Tomb no. 247
CHARLES SANFT
BIBLIOGRAPHY
Dissertation Abstracts
WEN-YI HUANG, comp.
Annual Bibliography
WEN-YI HUANG, comp
Monday, October 9, 2017
Ancestors, Kings, and the Dao
Author:
Constance A. Cook
Publication Date:
October, 2017
Publisher:
Harvard
Abstract:
Ancestors, Kings, and the Dao outlines the evolution of musical performance in early China, first within and then ultimately away from the socio-religious context of ancestor worship. Examining newly discovered bamboo texts from the Warring States period, Constance A. Cook compares the rhetoric of Western Zhou (1046–771 BCE) and Spring and Autumn (770–481 BCE) bronze inscriptions with later occurrences of similar terms in which ritual music began to be used as a form of self-cultivation and education. Cook’s analysis links the creation of such classics as the Book of Odes with the ascendance of the individual practitioner, further connecting the social actors in three types of ritual: boys coming of age, heirs promoted into ancestral government positions, and the philosophical stages of transcendence experienced in self-cultivation.
The focus of this study is on excavated texts; it is the first to use both bronze and bamboo narratives to show the evolution of a single ritual practice. By viewing the ancient inscribed materials and the transmitted classics from this new perspective, Cook uncovers new linkages in terms of how the materials were shaped and reshaped over time and illuminates the development of eulogy and song in changing ritual contexts.
Table of Contents:
Part I.
1. Establishing the Zhou tradition: Memorial feasts and the rise of eulogy to Zhou kings
2. Kings, ancestors, and the transmission of De: Transitions and setting the pattern
3. Song of heirs: Royal inscriptions: the king as heir
4. Eulogy and the rise of the musical performance: Training the Xiaozi
Part II. The Zhou way after the Zhou:
5. Transitions and bronze inscriptions: Archaic rings
6. The new old Zhou way: Notes on the transmission of odes and A song of King Wen
7. From ancestor worship to inner cultivation: Notes on the bamboo text the lute dance of Zhou Gong
8. Coming-of-age rituals: Performing the capping ritual
Constance A. Cook
Publication Date:
October, 2017
Publisher:
Harvard
Abstract:
Ancestors, Kings, and the Dao outlines the evolution of musical performance in early China, first within and then ultimately away from the socio-religious context of ancestor worship. Examining newly discovered bamboo texts from the Warring States period, Constance A. Cook compares the rhetoric of Western Zhou (1046–771 BCE) and Spring and Autumn (770–481 BCE) bronze inscriptions with later occurrences of similar terms in which ritual music began to be used as a form of self-cultivation and education. Cook’s analysis links the creation of such classics as the Book of Odes with the ascendance of the individual practitioner, further connecting the social actors in three types of ritual: boys coming of age, heirs promoted into ancestral government positions, and the philosophical stages of transcendence experienced in self-cultivation.
The focus of this study is on excavated texts; it is the first to use both bronze and bamboo narratives to show the evolution of a single ritual practice. By viewing the ancient inscribed materials and the transmitted classics from this new perspective, Cook uncovers new linkages in terms of how the materials were shaped and reshaped over time and illuminates the development of eulogy and song in changing ritual contexts.
Table of Contents:
Part I.
1. Establishing the Zhou tradition: Memorial feasts and the rise of eulogy to Zhou kings
2. Kings, ancestors, and the transmission of De: Transitions and setting the pattern
3. Song of heirs: Royal inscriptions: the king as heir
4. Eulogy and the rise of the musical performance: Training the Xiaozi
Part II. The Zhou way after the Zhou:
5. Transitions and bronze inscriptions: Archaic rings
6. The new old Zhou way: Notes on the transmission of odes and A song of King Wen
7. From ancestor worship to inner cultivation: Notes on the bamboo text the lute dance of Zhou Gong
8. Coming-of-age rituals: Performing the capping ritual
Thursday, March 30, 2017
Music in Ancient China: An Archaeological and Art Historical Study of Strings, Winds, and Drums during the Eastern Zhou and Han Periods (770 BCE-220 CE)
Author:
Ingrid Furniss
Publisher:
Cambria Press
Publication Date:
September 28, 2011
Abstract:
Many tombs dating to the Eastern Zhou (770-221 BCE) and Han (206 BCE-220 AD) periods contain musical instruments or their visual representations in the form of wood, stone, and ceramic figures, tomb tiles, and engravings. These finds suggest that music was viewed as an important part of the afterlife. While bells have survived more frequently than wooden instruments, and therefore have received the most scholarly attention, strings, winds, and drums are the focus of discussion in this book.
The book examines the use of these three instrument types in both solo and ensemble music, as well as the social, ritual, and entertainment functions of each. When combined with bells (and chime stones), strings, drums, and winds appear to have been associated with formal ritual ceremonies. However, when appearing alone or in assemblages with other wooden instruments during Zhou, they appear to be connected with warfare and entertainment. By Han times, strings, winds, and drums seem to be associated almost exclusively with entertainment, pointing to a shift in the social life of the times.
Another topic explored in this book is the association of musical instruments with wealth. When combined with bells and chime stones, they are only found in the wealthiest tombs. However, when found by themselves, strings, winds, and drums appear in small to large, modest to wealthy tombs, suggesting that they were available to a broad range of peoples in early Chinese elite society. This book analyzes an often disregarded aspect of early Chinese music, the role of strings, winds, and drums.
Table of Contents:
Chapter One: Introduction and Methodology
Chapter Two: Musical Instruments from Neolithic to Western Zhou
Chapter Three: Drums in Eastern Zhou and Han Tombs
Chapter Four: Strings in Eastern Zhou and Han Tombs
Chapter Five: Winds in Eastern Zhou and Han Tombs
Chapter Six: Wooden Instrument Ensembles in Eastern Zhou
Chapter Seven: Wooden Instrument Ensembles in Han
Chapter Eight: Ensembles with Wooden Instruments, Bells, and Chime Stones
Chapter Nine: Han Tombs with Bells and Chime Stones
Chapter Ten: Conclusions
Wooden Instruments After Han
Appendix One: Eastern Zhou Tombs by Category
Appendix Two: Selected List of Southeastern Han Tombs by Category
Appendix Three: Selected Southeastern Han Tombs and Shrines by Province and Site
Appendix Four: Northeastern Han Tombs by Category
Appendix Five: Selected Northeastern Han Tombs
Ingrid Furniss
Publisher:
Cambria Press
Publication Date:
September 28, 2011
Abstract:
Many tombs dating to the Eastern Zhou (770-221 BCE) and Han (206 BCE-220 AD) periods contain musical instruments or their visual representations in the form of wood, stone, and ceramic figures, tomb tiles, and engravings. These finds suggest that music was viewed as an important part of the afterlife. While bells have survived more frequently than wooden instruments, and therefore have received the most scholarly attention, strings, winds, and drums are the focus of discussion in this book.
The book examines the use of these three instrument types in both solo and ensemble music, as well as the social, ritual, and entertainment functions of each. When combined with bells (and chime stones), strings, drums, and winds appear to have been associated with formal ritual ceremonies. However, when appearing alone or in assemblages with other wooden instruments during Zhou, they appear to be connected with warfare and entertainment. By Han times, strings, winds, and drums seem to be associated almost exclusively with entertainment, pointing to a shift in the social life of the times.
Another topic explored in this book is the association of musical instruments with wealth. When combined with bells and chime stones, they are only found in the wealthiest tombs. However, when found by themselves, strings, winds, and drums appear in small to large, modest to wealthy tombs, suggesting that they were available to a broad range of peoples in early Chinese elite society. This book analyzes an often disregarded aspect of early Chinese music, the role of strings, winds, and drums.
Table of Contents:
Chapter One: Introduction and Methodology
Chapter Two: Musical Instruments from Neolithic to Western Zhou
Chapter Three: Drums in Eastern Zhou and Han Tombs
Chapter Four: Strings in Eastern Zhou and Han Tombs
Chapter Five: Winds in Eastern Zhou and Han Tombs
Chapter Six: Wooden Instrument Ensembles in Eastern Zhou
Chapter Seven: Wooden Instrument Ensembles in Han
Chapter Eight: Ensembles with Wooden Instruments, Bells, and Chime Stones
Chapter Nine: Han Tombs with Bells and Chime Stones
Chapter Ten: Conclusions
Wooden Instruments After Han
Appendix One: Eastern Zhou Tombs by Category
Appendix Two: Selected List of Southeastern Han Tombs by Category
Appendix Three: Selected Southeastern Han Tombs and Shrines by Province and Site
Appendix Four: Northeastern Han Tombs by Category
Appendix Five: Selected Northeastern Han Tombs
Friday, March 4, 2016
『隋書』音楽志訳注 (An Annotated Translation of Sui-shu's “Treatise on Music”)
Editors:
六朝楽府の会
Publisher:
和泉書院
Publication Date:
2016.2.26
Abstract:
『隋書』音楽志は、南北朝から隋朝に至る音楽の変遷を記録した通史であり、そこには、南北・東西音楽の交流と融合、日本雅楽の淵源となる西域音楽の東漸、理想の楽をめぐる国家的論争、儀礼・祭祀音楽の式次第他、古代音楽の実態が克明に描かれる。南北朝・隋唐史研究のみならず、中国学全般、ひいては日本古代史、日中交渉史、東洋音楽史等、東アジアの学術史を理解する上での基礎史料である。
本書は、中国古代音楽の事典的性質も備え、原文・書き下し文・現代語訳のほか、語注には、語句の出典・用例などを豊富に示し、音楽用語や歴史的背景についても詳細な解説を加えた。巻末には人名索引、楽曲・書名索引、事項索引を付す。
Table of Contents:
序
前言
凡例
『隋書』音楽志上
（１） 楽の起原とその展開―古代から北魏まで―
（２） 梁王朝の宮廷音楽―武帝の楽制改革―
（３） 梁王朝の宮廷音楽―武帝の楽律改革―
（４） 梁王朝の宮廷音楽―武帝の郊廟楽改革・懸鐘磬の法―
（５） 梁王朝の宮廷音楽―祭祀儀礼の次第―
（６） 梁王朝の宮廷音楽―燕饗楽・百戯―
（７） 梁王朝の宮廷音楽―鼓吹楽・歌謡・仏曲―
陳王朝の宮廷音楽―武帝期の雅楽―
（８） 陳王朝の宮廷音楽―祭祀儀礼の次第・燕饗楽・百戯―
『隋書』音楽志中
（９） 北斉王朝の宮廷音楽―北斉の雅楽・祭祀儀礼の次第―
（10） 北斉王朝の宮廷音楽―鼓吹楽・雑楽―
（11） 北周王朝の宮廷音楽―北周の雅楽・祭祀儀礼の次第―
（12） 北周王朝の宮廷音楽―燕饗楽・百戯・鼓吹楽―
（13） 隋王朝の宮廷音楽―高祖の楽制改革―
（14） 隋王朝の宮廷音楽―鄭譯の楽律改革―
『隋書』音楽志下
（15） 隋王朝の宮廷音楽―南朝雅楽の流入―
（16） 隋王朝の宮廷音楽―牛弘の楽制改革１―
（17） 隋王朝の宮廷音楽―牛弘の楽制改革２―
（18） 隋王朝の宮廷音楽―懸鐘磬の法―
（19） 隋王朝の宮廷音楽―開皇年間の雅楽・祭祀儀礼の次第―
（20） 隋王朝の宮廷音楽―開皇年間の燕饗楽・楽制改革の終結―
（21）隋王朝の宮廷音楽―煬帝期の郊廟楽改修―
（22）隋王朝の宮廷音楽―煬帝期の懸鐘磬改修―
（23）隋王朝の宮廷音楽―雅楽器―
（24）隋王朝の宮廷音楽―七部楽１―
（25）隋王朝の宮廷音楽―七部楽２―
（26）隋王朝の宮廷音楽―七部楽３・百戯―
（27）隋王朝の宮廷音楽―鼓吹楽―
人名索引
楽曲・書名索引
事項索引
六朝楽府の会
Publisher:
和泉書院
Publication Date:
2016.2.26
Abstract:
『隋書』音楽志は、南北朝から隋朝に至る音楽の変遷を記録した通史であり、そこには、南北・東西音楽の交流と融合、日本雅楽の淵源となる西域音楽の東漸、理想の楽をめぐる国家的論争、儀礼・祭祀音楽の式次第他、古代音楽の実態が克明に描かれる。南北朝・隋唐史研究のみならず、中国学全般、ひいては日本古代史、日中交渉史、東洋音楽史等、東アジアの学術史を理解する上での基礎史料である。
本書は、中国古代音楽の事典的性質も備え、原文・書き下し文・現代語訳のほか、語注には、語句の出典・用例などを豊富に示し、音楽用語や歴史的背景についても詳細な解説を加えた。巻末には人名索引、楽曲・書名索引、事項索引を付す。
Table of Contents:
序
前言
凡例
『隋書』音楽志上
（１） 楽の起原とその展開―古代から北魏まで―
（２） 梁王朝の宮廷音楽―武帝の楽制改革―
（３） 梁王朝の宮廷音楽―武帝の楽律改革―
（４） 梁王朝の宮廷音楽―武帝の郊廟楽改革・懸鐘磬の法―
（５） 梁王朝の宮廷音楽―祭祀儀礼の次第―
（６） 梁王朝の宮廷音楽―燕饗楽・百戯―
（７） 梁王朝の宮廷音楽―鼓吹楽・歌謡・仏曲―
陳王朝の宮廷音楽―武帝期の雅楽―
（８） 陳王朝の宮廷音楽―祭祀儀礼の次第・燕饗楽・百戯―
『隋書』音楽志中
（９） 北斉王朝の宮廷音楽―北斉の雅楽・祭祀儀礼の次第―
（10） 北斉王朝の宮廷音楽―鼓吹楽・雑楽―
（11） 北周王朝の宮廷音楽―北周の雅楽・祭祀儀礼の次第―
（12） 北周王朝の宮廷音楽―燕饗楽・百戯・鼓吹楽―
（13） 隋王朝の宮廷音楽―高祖の楽制改革―
（14） 隋王朝の宮廷音楽―鄭譯の楽律改革―
『隋書』音楽志下
（15） 隋王朝の宮廷音楽―南朝雅楽の流入―
（16） 隋王朝の宮廷音楽―牛弘の楽制改革１―
（17） 隋王朝の宮廷音楽―牛弘の楽制改革２―
（18） 隋王朝の宮廷音楽―懸鐘磬の法―
（19） 隋王朝の宮廷音楽―開皇年間の雅楽・祭祀儀礼の次第―
（20） 隋王朝の宮廷音楽―開皇年間の燕饗楽・楽制改革の終結―
（21）隋王朝の宮廷音楽―煬帝期の郊廟楽改修―
（22）隋王朝の宮廷音楽―煬帝期の懸鐘磬改修―
（23）隋王朝の宮廷音楽―雅楽器―
（24）隋王朝の宮廷音楽―七部楽１―
（25）隋王朝の宮廷音楽―七部楽２―
（26）隋王朝の宮廷音楽―七部楽３・百戯―
（27）隋王朝の宮廷音楽―鼓吹楽―
人名索引
楽曲・書名索引
事項索引
Wednesday, May 13, 2015
東晋南朝における傳統の創造
Author:
戸川貴行
Publication Year:
2015
Publisher:
Kyuko Shoin
Table of Contents:
序 章
第一編 東晉南朝の軍事体制
第一章 魏晉南朝の民爵賜与について
第一節 軍功賜爵と兵制、財政の関係
第二節 民爵賜与と籍田儀礼
第二章 東晉、宋初の「五等爵」について
―民爵との関連を中心としてみた―
第一節 「五等爵」と劉裕起義の関係
第二節 「五等爵」の実態
第三章 劉宋孝武帝の戸籍制度改革について
第一節 詔における「伐蛮の家」の実体
第二節 「鰥貧疾老」の解釈と戸籍制度改革の意義
第三節 黄籍戸への民爵賜与と戸籍制度改革に対する抵抗
第四章 東晉南朝の建康における華林園について
―「詔獄」を中心としてみた―
第一節 宋斉時代の華林園における「詔獄」
第二節 華林園の軍事的機能
第二編 東晉南朝の天下観
第一章 東晉南朝における天下観について
―王畿、神州の理解をめぐって―
第一節 東晉前期の王畿、神州について
第二節 東晉後期より劉宋文帝期までの王畿、神州について
第二章 劉宋孝武帝の礼制改革について
―建康中心の天下観との関連からみた―
第一節 明堂の建設
第二節 五輅の製造
第三節 南 巡
第三章 東晉南朝における建康の中心化と国家儀礼の整備について
第一節 東晉の建康と国家儀礼の関係
第二節 南朝の建康と国家儀礼の関係
第三節 江南政権における郊廟儀礼の実態
第四章 東晉南朝における伝統の創造について
―楽曲編成を中心としてみた―
第一節 劉宋孝武帝期における楽曲改革と中原恢復との関係
第二節 劉宋孝武帝による楽曲改革が南北朝、隋唐に与えた影響
終 章
戸川貴行
Publication Year:
2015
Publisher:
Kyuko Shoin
Table of Contents:
序 章
第一編 東晉南朝の軍事体制
第一章 魏晉南朝の民爵賜与について
第一節 軍功賜爵と兵制、財政の関係
第二節 民爵賜与と籍田儀礼
第二章 東晉、宋初の「五等爵」について
―民爵との関連を中心としてみた―
第一節 「五等爵」と劉裕起義の関係
第二節 「五等爵」の実態
第三章 劉宋孝武帝の戸籍制度改革について
第一節 詔における「伐蛮の家」の実体
第二節 「鰥貧疾老」の解釈と戸籍制度改革の意義
第三節 黄籍戸への民爵賜与と戸籍制度改革に対する抵抗
第四章 東晉南朝の建康における華林園について
―「詔獄」を中心としてみた―
第一節 宋斉時代の華林園における「詔獄」
第二節 華林園の軍事的機能
第二編 東晉南朝の天下観
第一章 東晉南朝における天下観について
―王畿、神州の理解をめぐって―
第一節 東晉前期の王畿、神州について
第二節 東晉後期より劉宋文帝期までの王畿、神州について
第二章 劉宋孝武帝の礼制改革について
―建康中心の天下観との関連からみた―
第一節 明堂の建設
第二節 五輅の製造
第三節 南 巡
第三章 東晉南朝における建康の中心化と国家儀礼の整備について
第一節 東晉の建康と国家儀礼の関係
第二節 南朝の建康と国家儀礼の関係
第三節 江南政権における郊廟儀礼の実態
第四章 東晉南朝における伝統の創造について
―楽曲編成を中心としてみた―
第一節 劉宋孝武帝期における楽曲改革と中原恢復との関係
第二節 劉宋孝武帝による楽曲改革が南北朝、隋唐に与えた影響
終 章
Tuesday, October 2, 2012
Music, Cosmology, and the Politics of Harmony in Early China
作者 Author：
Erica Fox Brindley
出版社 Publisher:
SUNY press
出版年 Publication Year:
2012
摘要 Abstract：
In early China, conceptions of music became important culturally and politically. This fascinating book examines a wide range of texts and discourse on music during this period (ca. 500–100 BCE) in light of the rise of religious, protoscientific beliefs on the intrinsic harmony of the cosmos. By tracking how music began to take on cosmic and religious significance, Erica Fox Brindley shows how music was used as a tool for such enterprises as state unification and cultural imperialism. She also outlines how musical discourse accompanied the growth of an explicit psychology of the emotions, served as a fundamental medium for spiritual attunement with the cosmos, and was thought to have utility and potency in medicine. While discussions of music in state ritual or as an aesthetic and cultural practice abound, this book is unique in linking music to religious belief and demonstrating its convergences with key religious, political, and intellectual transformations in early China.
目錄 Table of Contents：
Acknowledgments
Prologue
Introduction: Music and Cosmological Theory
Part One: Music and the State
1. Music in State Order and Cosmic Rulership
2. A Civilizing Force for Imperial Rule
3. Regulating Sound and the Cosmos
Part Two: Music and the Individual
4. Music and the Emergence of a Psychology of the Emotions
5. Sagely Attunement to the Cosmos
6. Music and Medicine
Conclusion
Erica Fox Brindley
出版社 Publisher:
SUNY press
出版年 Publication Year:
2012
摘要 Abstract：
In early China, conceptions of music became important culturally and politically. This fascinating book examines a wide range of texts and discourse on music during this period (ca. 500–100 BCE) in light of the rise of religious, protoscientific beliefs on the intrinsic harmony of the cosmos. By tracking how music began to take on cosmic and religious significance, Erica Fox Brindley shows how music was used as a tool for such enterprises as state unification and cultural imperialism. She also outlines how musical discourse accompanied the growth of an explicit psychology of the emotions, served as a fundamental medium for spiritual attunement with the cosmos, and was thought to have utility and potency in medicine. While discussions of music in state ritual or as an aesthetic and cultural practice abound, this book is unique in linking music to religious belief and demonstrating its convergences with key religious, political, and intellectual transformations in early China.
目錄 Table of Contents：
Acknowledgments
Prologue
Introduction: Music and Cosmological Theory
Part One: Music and the State
1. Music in State Order and Cosmic Rulership
2. A Civilizing Force for Imperial Rule
3. Regulating Sound and the Cosmos
Part Two: Music and the Individual
4. Music and the Emergence of a Psychology of the Emotions
5. Sagely Attunement to the Cosmos
6. Music and Medicine
Conclusion
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