【復原唐樂合奏】曹婆 [Reconstructed Tang-period Ensemble Music] Cáo Pó 古樂尋蹤_HGofACH 2022-06-26 | 0:00 標題 Title0:06 樂譜復原概要 Summary of the Restoration Process0:52 復原樂曲演奏 Featured Performance3:16 附錄一:曹婆（沙陀調） Appendix 1: Cáo Pó (Lydian on D)5:46 附錄二:曹婆（笙譜譯） Appendix 2: Cáo Pó (shēng score ver.)7:57 片末 End CreditsCáo Pó (曹婆) was a Táng-period composition for dance accompaniment. It was described in the poem "Chasing the Past" (追昔遊) by Yuan Zhen (元稹), a famous contemporary novelist, poet and politician. The compilation of Táng-period lyrics known as "Dūnhuáng Qǔzǐ Cí" (敦煌曲子詞) also features three pieces titled "Ā Cáo Pó" (阿曹婆), which is likely referring to Cáo Pó or a closely related music. Alternatively, Cáo Pó is believed to be a different name for a large-scale composition performed by Jiào-fāng (教坊; a musical institute serving the Táng court) known as "Hú Sēng Pò" (胡僧破) based on similar pronunciation. Regarding the music's title, the earliest reference of "Cáo Pó" is seen in the "Excavated Turpan Documents" (吐魯番文書) where "Cáo" (曹) is one of the "Nine Tribes of Zhāo-wǔ" (昭武九姓) and the sinonized surname assumed by Sogdians who lived in Ushrusana, Kaputana and Ishitikhan, and "Pó" (婆) is a Chinese phonetic approximation of the Sogdian word "prtm" or "Pertam-" meaning "the eldest son". There are two surviving scores of Cáo Pó: one written in the transverse flute notation (but lacks rhythmic markings) that was found in the Kagakuifu (歌樂維譜), and the other in the shēng (笙) notation from the Banraku-wakankou (萬樂和漢考). This video features three different reconstruction of Cáo Pó based on an analysis of these scores and relevant historical texts.《曹婆》為唐代舞樂，元稹七言律詩《追昔遊》有一句為：『醉摘櫻桃投小玉，懶梳叢鬢舞《曹婆》。』，當中提及《曹婆》作伴奏舞蹈之用。《敦煌曲子詞》中亦有三首詞曲調名為《阿曹婆》，應與《曹婆》為同曲。另有一種說法則認為《曹婆》乃《教坊記》中所錄大曲《胡僧破》之別名。論其曲名，『曹婆』一詞最早見於《吐魯番文書》，為漢譯粟特語，經考證確定為男子姓名：『曹』為『昭武九姓』之一，其氏族主要分佈於東曹國（Ushrusana）、曹國（Kaputana）及西曹國（Ishitikhan）；『婆』則為粟特文『prtm』或『Pertam-』之譯音，意思為『長子』。 現存《曹婆》樂譜有兩種：一為載於《歌樂維譜》之橫笛譜，只錄有譜字而缺劃拍；另一為輯錄於《萬樂和漢考》第五册之笙譜，譜字及劃拍皆全。文獻對於《曹婆》宫調之記載亦有兩種：一作越調（黃鐘商），另一則作沙陀調（太簇宫）。現在以《曹婆》笙譜作基礎為其橫笛譜補回所缺劃拍，再補上其他樂器以重構樂曲全貌。
【五絃譜新詮】六胡州 [A New Interpretation of the Gogen-fu] Six Frontier Prefectures 古樂尋蹤_HGofACH 2025-10-10 | 0:00 標題 Title0:06 樂譜復原概要 Summary of the Restoration Process1:14 復原樂曲演奏 Featured Performance3:43 片末 End CreditsThe “Six Frontier Prefectures (六胡州)” refer to the states of Lǔ (魯), Lì (麗), Sāi (塞), Hán (含), Yī (依) and Qì (契) that were established in 679 A.D. by the Táng dynasty (唐朝) in the southern region of the Ordos Plateau, for the re-settlement of Turkic tribes after their defeat by the Táng army. As such, Six Frontier States (the music), which likely originated from this area and later introduced to the Táng court, is rich in Turkic musical elements. While no explicit mention of this musical piece has been found in historical literature, the Yuèfǔ Poetry Collection (樂府詩集) included lyrics for songs titled Lù-zhōu (陸州) and Fast Lù-zhōu (簇拍陸州). Notably, the character “陸” can be written as “六” (meaning six), and “陸州” can be taken as “六州” which stands for “六胡州”, although this remains inconclusive. This video presents an alternative reconstruction of the Six Frontier Prefectures. Its musical structure was deduced strictly by studying the original score while using other surviving scores as references for clues in determining rhythm and other musical elements.『六胡州』泛指唐朝於調露元年，在鄂爾多斯南部所設魯、麗、塞、含、依、契六州，以安置在平定突厥後歸降的突厥人。而《六胡州》樂曲富胡族色彩，應為突厥民族之樂風。然而，《六胡州》一曲在現存華夏文獻中未有確切論述。《樂府詩集》載有《陸州》及《簇拍陸州》等曲詞，而『陸』『六』兩字相通，故《陸州》亦可作《六州》即《六胡州》，但尚待考證。 本片所錄的《六胡州》復原本以其原譜為基礎，並從已知同時期樂曲的結構、節拍等音樂原素得出重構樂曲的藍本。Reference 參考資料:Nelson, Steven G., "Issues in the interpretation of notation for East Asia lutes (pipa/biwa) as preserved in scores of the eighth to twelfth centuries (8世紀から12世紀にかけて成立した琵琶古楽譜の解読における諸問題)",《日本音楽史研究:上野学園大学日本音楽史研究所年報》 (Studies in the historiography of Japanese music: Bulletin of the Research Institute for Japanese Music Historiography, Ueno Gakuen University), 2012, 8:1-41
【五絃譜新詮】王昭君 [A New Interpretation of the Gogen-fu] Wáng Zhāo-jūn 古樂尋蹤_HGofACH 2024-10-14 | 0:00 標題 Title0:06 樂譜復原概要 Summary of the Restoration Process-- 復原樂曲演奏 Featured Performance0:43 第一、二段 (五絃譜) Sections 1, 2 (Gogen-fu ver.)3:11 第三、四段 (五絃譜) Sections 3, 4 (Gogen-fu ver.)5:43 附錄:四弦琵琶獨奏 (三五要錄) Appendix: 4-string Pipa solo (Sango-yōroku ver.)7:36 片末 End CreditsWáng Zhāo-jūn (王昭君) was part of the repertorie of Lí-yuán Fǎ-bù (梨園法部), a group of elite musicians organized personally by Emperor Xuán-zōng (唐玄宗) of the Táng dynasty. In addition to the instrumental version, Wáng Zhāo-jūn was also used for lyrics-setting. Its main theme is of the famous story about the lady-in-waiting Wáng Zhāo-jūn (a.k.a. Wáng qiáng; 王嬙), who was sent for marriage with the northern Xiōngnú (匈奴) tribe leader Huhanye Chanyu (呼韓邪單于) by Emperor Yuán (漢元帝) of the Hàn dynasty in 1st century B.C., in an effort to pacify the northen border. The earliest known version of Wáng Zhāo-jūn (the music) was found in the Gogen-fu (五絃譜) written for the five-string pípá. Later versions include the four-string pípá score from the Sango-yōroku (三五要錄). This video features a reconstruction of the Gogen-fu score, using the Sango-yōroku score as reference in the reconstitution of the originally absent rhythmic information. Previous work by different musicologists, such as R. F. Wolpert and S. G. Nelson, were also consulted in the interpretation of specific note symbols.《王昭君》為唐代『法曲』（指唐玄宗時梨園法部所習之器樂曲），源自清商樂（自漢朝以來所創之中原俗樂），亦用作詞牌。其主題為家傳户曉，講述漢元帝時平民出身的宫女王嬙（即王昭君）被遣出塞匈奴和蕃之事跡。 現存《王昭君》樂譜以《五絃譜》所收錄的五弦琵琶譜為最早，較晚的有如收錄在《三五要錄》的四弦琵琶譜，其曲式已大為簡約。本片所錄為《五絃譜》版本的復原本，節拍的重構則參照了《三五要錄》版本作對比及不同音樂學者（如 R. F. Wolpert、S. G. Nelson 等）對《五絃譜》中對個別譜字及的符號譯析。Reference 參考資料:Wolpert, Rembrandt F., "The five-stringed lute in East Asia", Musica Asiatica, 1981, 3:97-106Nelson, Steven G., "Issues in the interpretation of notation for East Asia lutes (pipa/biwa) as preserved in scores of the eighth to twelfth centuries (8世紀から12世紀にかけて成立した琵琶古楽譜の解読における諸問題)",《日本音楽史研究:上野学園大学日本音楽史研究所年報》 (Studies in the historiography of Japanese music: Bulletin of the Research Institute for Japanese Music Historiography, Ueno Gakuen University), 2012, 8:1-41
【敦煌琵琶譜新詮】第二十二曲 撒金砂 - [Dunhuang Pipa Score: A New Interpretation] No. 22 Scattering the Sands of Gold 古樂尋蹤_HGofACH 2024-07-24 | 0:00 標題及簡介 Title & Introduction0:06 樂譜復原概要 Summary of the Restoration Process1:05 樂曲演奏 Featured Performance2:20 附錄:琵琶獨奏版 Appendix: Pipa solo ver.3:36 片末 End CreditsScattering the Sands of Gold (撒金砂; Sā-jīn-shā) is the 22nd composition from the “Dunhuang Pipa Score” (敦煌琵琶譜). It was part of the repertoire of the Táng-period Jiào-fāng (教坊) - an official institution of court musicians and dancers providing musical/dance entertainment for non-ceremonial occasions. There is little information regarding this piece from ancient literature, although the title suggests that it might have been used as dance music. The relatively rare tuning “Ac♯ea”, also known as “Yù-shén (-chén?) diào (玉神(宸?)調)” was used for this piece. This video features a rendition of Scattering the Sands of Gold interpreted and transcribed using a constant meter throughout, similar to the majority of surviving Sino-Japanese scores. Alternative views regarding the rhythmic structure and the meaning of specific note symbols - based on the work of musicologist Steven G. Nelson and others - are also adopted. Both an ensemble and solo version are presented in this video.《敦煌琵琶譜》第二十二曲為《撒金砂》，乃唐代教坊樂曲，除此之外文獻欠其詳述，但依曲題推測或為舞樂，其所用定弦為『玉神（宸？）調』（Ac♯ea）。 本片所錄《撒金砂》參考了大部分現存傳日唐樂譜中以同一節奏貫穿全曲，其樂律結構以及個別譜字符號的解釋則以 Steven G. Nelson 及其他音樂學家的研究為基礎，譯本分別以合奏及獨奏形式呈現。Reference 參考資料:Nelson, Steven G., "Issues in the interpretation of notation for East Asia lutes (pipa/biwa) as preserved in scores of the eighth to twelfth centuries (8世紀から12世紀にかけて成立した琵琶古楽譜の解読における諸問題)",《日本音楽史研究:上野学園大学日本音楽史研究所年報》 (Studies in the historiography of Japanese music: Bulletin of the Research Institute for Japanese Music Historiography, Ueno Gakuen University), 2012, 8:1-41陳應時，《敦煌樂譜解譯辨正》 (Dūnhuáng Yuèpǔ Jiěyì Biànzhèng; Interpretation and Correction of the Dunhuang Music Score, by Chen Yingshi) 上海音樂學院出版社 (Shanghai Conservatory of Music Press) 2005.6 ISBN 7-80692-147-8
【敦煌琵琶譜】第二十二曲 撒金砂 [Dunhuang Pipa Score] No. 22 Scattering the Sands of Gold 古樂尋蹤_HGofACH 2024-06-09 | 0:00 標題及簡介 Title & Introduction0:21 樂曲演奏 Featured Performance1:20 附錄:琵琶獨奏版 Appendix: Pipa solo ver.2:14 片末 End CreditsScattering the Sands of Gold (撒金砂; Sā-jīn-shā) is the 22nd composition from the “Dunhuang Pipa Score” (敦煌琵琶譜). It was part of the repertoire of the Táng-period Jiào-fāng (教坊) - an official institution of court musicians and dancers providing musical/dance entertainment for non-ceremonial occasions. There is little information regarding this piece from ancient literature, although the title suggests that it might have been used as dance music. The relatively rare tuning “Ac♯ea”, also known as “Yù-shén (-chén?) diào (玉神(宸?)調)” was used for this piece. This video features a rendition of Scattering the Sands of Gold that was originally deciphered and interpreted by the musicologist Professor Chen Ying-shi (陳應時教授) from his extensive studies of the Dunhuang Pipa Score. Both an ensemble and solo version are presented.《敦煌琵琶譜》第二十二曲為《撒金砂》，乃唐代教坊樂曲，除此之外文獻欠其詳述，但依曲題推測或為舞樂，其所用定弦為『玉神（宸？）調』（Ac♯ea）。 本片所錄佚名樂曲為音樂學者陳應時教授以其『掣拍說』對《敦煌琵琶譜》作考證後之譯本，分別以合奏及獨奏形式呈現。Reference 參考資料:陳應時，《敦煌樂譜解譯辨正》 (Dūnhuáng Yuèpǔ Jiěyì Biànzhèng; Interpretation and Correction of the Dunhuang Music Score, by Chen Yingshi) 上海音樂學院出版社 (Shanghai Conservatory of Music Press) 2005.6 ISBN 7-80692-147-8
【敦煌琵琶譜新詮】第二十一曲 (佚名) [Dunhuang Pipa Score: A New Interpretation] No. 21 (Title lost) 古樂尋蹤_HGofACH 2024-05-13 | 0:00 標題及簡介 Title & Introduction0:06 樂譜復原概要 Summary of the Restoration Process0:45 樂曲演奏 Featured Performance2:34 附錄:琵琶獨奏版 Appendix: Pipa solo ver.4:18 片末 End CreditsThe title of the 21st composition found in the “Dunhuang Pipa Score” (敦煌琵琶譜), like the 11th, has been lost. It was likely cut off as people of that time resized and pasted together what used to be three separate music scores into one and used the back for copying a Buddhist sermon. Modern analysis of the note symbols utilized and their handwriting style suggests that compositions 21 through 25 belong to the same group and they employed the same tuning “Ac♯ea”, also known as “Yù-shén (-chén?) diào (玉神(宸?)調)” - one of the rarer tunings used for the Táng-period pipa. This video features a rendition of the titleless 21st piece interpreted and transcribed using a constant meter throughout, similar to the majority of surviving Sino-Japanese scores. Alternative views regarding the rhythmic structure and the meaning of specific note symbols - based on the work of musicologist Steven G. Nelson and others - are also adopted. Both an ensemble and solo version are presented in this video.《敦煌琵琶譜》所載第二十一曲為佚名曲，與第十一曲情況相同，原來的曲題因時人將曲譜作裁剪併合以用其背面抄寫佛教『講經文』致其佚失。現代學者根據所用譜字及筆跡的類同推斷第二十一至二十五曲屬同一組樂曲，其定弦為唐代琵琶的『玉神（宸？）調』（Ac♯ea）。 本片所錄佚名樂曲參考了大部分現存傳日唐樂譜中以同一節奏貫穿全曲，其樂律結構以及個別譜字符號的解釋則以 Steven G. Nelson 及其他音樂學家的研究為基礎，譯本分別以合奏及獨奏形式呈現。Reference 參考資料:Nelson, Steven G., "Issues in the interpretation of notation for East Asia lutes (pipa/biwa) as preserved in scores of the eighth to twelfth centuries (8世紀から12世紀にかけて成立した琵琶古楽譜の解読における諸問題)",《日本音楽史研究:上野学園大学日本音楽史研究所年報》 (Studies in the historiography of Japanese music: Bulletin of the Research Institute for Japanese Music Historiography, Ueno Gakuen University), 2012, 8:1-41陳應時，《敦煌樂譜解譯辨正》 (Dūnhuáng Yuèpǔ Jiěyì Biànzhèng; Interpretation and Correction of the Dunhuang Music Score, by Chen Yingshi) 上海音樂學院出版社 (Shanghai Conservatory of Music Press) 2005.6 ISBN 7-80692-147-8饒宗頤,「敦煌琵琶譜寫卷原本之考察」,《音樂藝術》, 1990年 04期 (Ráo Zōng-yí, "Investigation of the Original State of the Dunhuang Pipa Score", Yīn-yuè Yì-shù, 1990, Vol. 4) DOI : 10.19359/j .cn31-1004/j .1990.04.001
【敦煌琵琶譜】第二十一曲 (佚名) [Dunhuang Pipa Score] No. 21 (Title lost) 古樂尋蹤_HGofACH 2024-04-18 | 0:00 標題及簡介 Title & Introduction0:21 樂曲演奏 Featured Performance1:44 附錄:琵琶獨奏版 Appendix: Pipa solo ver.3:03 片末 End CreditsThe title of the 21st composition found in the “Dunhuang Pipa Score” (敦煌琵琶譜), like the 11th, has been lost. It was likely cut off as people of that time resized and pasted together what used to be three separate music scores into one and used the back for copying a Buddhist sermon. Modern analysis of the note symbols utilized and their handwriting style suggests that compositions 21 through 25 belong to the same group and they employed the same tuning “Ac♯ea”, also known as “Yù-shén (-chén?) diào (玉神(宸?)調)” - one of the rarer tunings used for the Táng-period pipa. This video features a rendition of the titleless 21st piece that was originally deciphered and interpreted by the musicologist Professor Chen Ying-shi (陳應時教授) from his extensive studies of the Dunhuang Pipa Score. Both an ensemble and solo version are presented.《敦煌琵琶譜》所載第二十一曲為佚名曲，與第十一曲情況相同，原來的曲題因時人將曲譜作裁剪併合以用其背面抄寫佛教『講經文』致其佚失。現代學者根據所用譜字及筆跡的類同推斷第二十一至二十五曲屬同一組樂曲，其定弦為唐代琵琶的『玉神（宸？）調』（Ac♯ea）。 本片所錄佚名樂曲為音樂學者陳應時教授以其『掣拍說』對《敦煌琵琶譜》作考證後之譯本，分別以合奏及獨奏形式呈現。Reference 參考資料:陳應時，《敦煌樂譜解譯辨正》 (Dūnhuáng Yuèpǔ Jiěyì Biànzhèng; Interpretation and Correction of the Dunhuang Music Score, by Chen Yingshi) 上海音樂學院出版社 (Shanghai Conservatory of Music Press) 2005.6 ISBN 7-80692-147-8饒宗頤,「敦煌琵琶譜寫卷原本之考察」,《音樂藝術》, 1990年 04期 (Ráo Zōng-yí, "Investigation of the Original State of the Dunhuang Pipa Score", Yīn-yuè Yì-shù, 1990, Vol. 4) DOI : 10.19359/j .cn31-1004/j .1990.04.001
【附篇二】秦王破陣樂 (箏獨奏) [Addendum 2] Music of the Triumphant Prince of Qín (zhēng solo) 古樂尋蹤_HGofACH 2024-02-28 | 0:00 標題 Title0:11 復原樂曲演奏 Featured Performance5:40 片末 End CreditsReconstructed music of the zhēng score from the Jinchi-yōroku (仁智要錄). For the ensemble version, please follow this link: youtu.be/hwnnDVy-cdM《仁智要錄》箏譜的復原樂曲，合奏版連結： youtu.be/hwnnDVy-cdM
【附篇一】秦王破陣樂 (琵琶獨奏) [Addendum 1] Music of the Triumphant Prince of Qín (Pípá Solo) 古樂尋蹤_HGofACH 2024-02-28 | 0:00 標題 Title0:11 復原樂曲演奏 Featured Performance5:21 片末 End CreditsReconstructed music of the pípá score from the Sango-yōroku (三五要錄). For the ensemble version, please follow this link: youtu.be/hwnnDVy-cdM《三五要錄》琵琶譜的復原樂曲，合奏版連結： youtu.be/hwnnDVy-cdM
【復原唐樂合奏】秦王破陣樂 [Reconstructed Tang-period Ensemble Music] Music of the Triumphant Prince of Qín 古樂尋蹤_HGofACH 2024-02-28 | 0:00 標題 Title0:06 樂譜復原概要 Summary of the Restoration Process0:36 復原樂曲演奏 Featured Performance5:52 片末 End CreditsMusic of the Triumphant Prince of Qín (秦王破陣樂; 破陣樂) was a large-scale Táng period composition that integrated instrumental music, vocal music and dance. Originally an unaccompanied song (徒歌) that was sung among troops, the original form of this piece took shape when it was performed to celebrate the military success of the Prince of Qín (秦王), Lǐ Shì-mín (李世民) against the forces of Liú Wǔ-zhōu (劉武周). After the prince became Emperor Tài-zōng (唐太宗), he ordered his minister of ceremonies Lǚ Cái (呂才) to rearrange the music, his chancellor Wèi Zhēng (魏徵) and other officials to compose new lyrics, and the Emperor himself was personally involved in choreographic design. The finished work was known as Dance of the Seven Virtues (七德舞). It was performed during banquets at court and excerpts were adopted for use in imperial ceremonies. Later, Emperor Xuán-zōng (唐玄宗) used this piece as the basis of his own composition - Small Music of Triumph (小破陣樂). There are multiple surviving scores of this piece covering all of the major instrumental categories. These include the pípá (琵琶; 4-string lute) score from the Sango-yōroku (三五要錄), the zhēng (箏; 13-string zither) score from the Jinchi-yōroku (仁智要錄), plus others for the winds and percussion instruments. Notably, the earliest score was found in the Gogen-fu (五絃譜; "Gogen" refers to the 5-string pípá), but its melodic structure is quite different when compared to the other scores, which suggest changes that may have occurred during the impartation and transmission of this music.《秦王破陣樂》（或簡稱《破陣樂》）乃唐代大型舞樂，原先為軍旅所傳唱之徒歌，後來為歌頌秦王李世民（唐太宗）伐劉武周之功績，遂以舊樂入新詞成《破陣樂》之原型。至太宗即帝位後，命太常丞呂才協律、魏徵等製新曲詞，又親製『破陣舞圖』，命呂才教樂工傳習之，成《七德舞》，於宴會時演出，及後亦摘篇用於祭祠。再後來唐玄宗在《破陣樂》基礎上創《小破陣舞》，演出型式也大為精簡。 現存《秦王破陣樂》樂譜相對完備，有收錄於《三五要錄》的琵琶譜及《仁智要錄》的箏譜，亦有橫笛、笙、篳篥、擊樂等數種樂譜見於其他譜集，而最早的樂譜則屬《五絃譜》所傳一例，但所錄旋律與其他樂譜均有異，顯然樂曲在傳承時已有所變化。這裏主要參考了《三五》及《仁智》兩譜，再輔以除《五絃譜》外的其他譜本為樂曲進行復原。
【古譜殘佚復原】調子・孫賓十七中（箏譜斷簡）- [Reconstructed Score Fragment] A Melody - One of 17 by Sūn Bīn (Sōfu-dankan) 古樂尋蹤_HGofACH 2023-12-25 | 0:00 標題 Title0:06 樂譜復原概要 Summary of the Restoration Process1:35 樂曲演奏 Featured Performance3:01 片末 End CreditsSōfu-dankan (箏譜斷簡) is a scroll from the Northern and Southern Courts period (南北朝時代, Nanboku-chō jidai; 1336-1392) in Japan. It contains a single score written in the Táng-period zhēng (箏; 13-string zither) notation and an excerpt of the story "Emperor Xuán-zōng's Visit of the Moon Palace in His Dream (明皇夢遊廣寒宮; Míng-huáng Mèng-yóu Guǎng-hán-gōng)". Under the score's title are the notes "One of 17 pieces by/from Sūn Bīn (孫賓十七中; Sūn Bīn shí-qī zhōng)". Sūn Bīn was a musician from the Táng dynasty who travelled to Japan in 845 and introduced 17 (some evidence suggests 13) pieces of zhēng solo pieces to the Japanese court. Thus, the score in the Sōfu-dankan is likely the sixth example of music by/from Sūn Bīn in addition to the five known ones preserved in the Ruisō Chiyō (類箏治要). One special aspect of note is the sole use of single Chinese characters to convey various techniques (this is similar to the Táng-period shēng [笙] notation) for both left and right hands, rather than the various symbols more commonly seen in the vast majority of surviving zhēng scores. This video presents one of first known attempts in the analysis and reconstruction of the Sōfu-dankan zhēng music, based on the various playing techniques and tunings described in the Jinchi Yōroku (仁智要錄) and Ruisō Chiyō, as well as the musical characteristics of the five solo pieces attributed to Sūn Bīn.《箏譜斷簡》為一卷軸，日本南北朝時代（1336-1392）成書，卷中錄有一段題為「調子」的唐箏樂譜及取自《龍城錄》中《明皇夢遊廣寒宮》的上半段文字。樂譜曲題下方記有「孫賓十七中」字樣，譜中可能為宮調名的部分因紙張腐蝕已不可閱。孫賓為唐代樂師，海州沭陽縣人，於會昌五年（845年）將十七（一說十三）首唐箏調子品傳入日本。故《箏譜斷簡》所錄箏譜可能是孫賓的傳譜之一，亦是計《類箏治要》所錄五首為孫賓所傳調子品以外的另一譜例。樂譜的一大特點是以純文字表示各種左右手彈奏技巧（此法與笙譜類同），而非常見於大多數存譜中的各種技巧符號。現參考了《仁智要錄》及《類箏治要》所記載的各種唐箏彈奏技巧、調弦法、及五首孫賓所傳的調子品，從而嘗試為《箏譜斷簡》作譯析及盡可能重構其樂曲原貌。Reference 參考資料:Nelson, S. G. "Reading Notation for 13-Stringed Zither Deriving from Tang China: Tunings and Performance Techniques Relating to Pitch" Lecture notes for "Vancouver Chinese Instrumental Music Society, First Online Symposium, Aug 1. 2020"
【五絃譜新詮】惜惜鹽 [A New Interpretation of the Gogen-fu] Xī-xī Yán 古樂尋蹤_HGofACH 2023-11-12 | 0:00 標題 Title0:06 樂譜復原概要 Summary of the Restoration Process0:21 復原樂曲演奏 Featured Performance3:22 片末 End CreditsXī-xī Yán (惜惜鹽; 昔昔鹽; せきせきえん) is a short dance piece from the Suí and Táng periods. The music was also popular for setting lyrics. There are two known surviving scores of this piece: a héng-dí (橫笛; transverse bamboo flute) score in 3 sections from the Kagakuifu (歌樂維譜) and a five-string pípá (五弦琵琶) score in 4 sections from the Gogen-fu (五絃譜). The two versions consist of the same basic melodies that were arranged differently. Both were keyed in Dorian mode on E (平調; Píng diào; ひょうじょう). The comparative analysis of the two scores and a reconstruction of this piece based on the héng-dí score has been presented in a previous video (URL: youtube.com/watch?v=C3wfM2BBSFI ). The current reconstruction of Xī-xī Yán as featured here is based on the score of Xī-xī Yán from the Gogen-fu, utilizing the same phrasing and rhythmic structure determined from our previous analysis.《惜惜鹽》（又作《昔昔鹽》）為隋唐時期一首小型舞樂，亦為詞牌。目前已知的傳世樂譜有兩種：一為收錄於《歌樂維譜》的橫笛譜，有三帖；另一為《五絃譜》的五弦琵琶譜，有四帖。兩者有共通的基本旋律，均為「平調」（林鐘羽），但各帖的鋪排方式不同。兩種樂譜的譯析、對比及以《歌樂維譜》為基礎而制的復原樂曲已在之前的影片中發表（連結： youtube.com/watch?v=C3wfM2BBSFI ）。 本片所錄為《惜惜鹽》的五弦琵琶譜復原本，樂曲分句及節拍制定均參照之前兩譜對比譯析所得結論而作。
【復原唐樂合奏】惜惜鹽（歌樂維譜） [Reconstructed Tang-period Ensemble Music] Xī-xī Yán (Kagakuifu ver.) 古樂尋蹤_HGofACH 2023-10-15 | 0:00 標題 Title0:06 樂譜復原概要 Summary of the Restoration Process1:10 復原樂曲演奏 Featured Performance3:40 片末 End Credits*Special thanks to Youtube user "Andreas King (@andreasking8246)" for providing linguistic expertise in the writing of the summary below.*特別鳴謝YT用户「Andreas King (@andreasking8246)」提供了以下概要所引用有關語言學的專業見解。Xī-xī Yán (惜惜鹽; 昔昔鹽; せきせきえん) is a short dance piece from the Suí and Táng periods. The music was also popular for setting lyrics. There are two known surviving scores of this piece: a héng-dí (橫笛; transverse bamboo flute) score in 3 sections from the Kagakuifu (歌樂維譜) and a five-string pípá (五弦琵琶) score in 4 sections from the Gogen-fu (五絃譜). The two versions consist of the same basic melodies that were arranged differently. Both were keyed in Dorian mode on E (平調; Píng diào; ひょうじょう). "Xī-xī Yán" was a Chinese phonetic approximation of the original title in a foreign language. Its meaning and linguistic origin has long been a subject of academic research. A recent study in 2018 by the scholar Zhāng Jiàn-huá (張建華) suggests that it was likely of Turkic (突厥) origin. Namely, "yán" was an approximation of "yïr/yır" which means "song" or "folk song". In Táng period music however, "yán" refers specifically to pieces (usually dance music) originated from the Shule Kingdom (疏勒; c. 200 BC-790 AD) that were relatively fast in tempo and featured the jié-gǔ (羯鼓) as the primary percussion instrument. The meaning of "Xī-xī" is less certain but possibly to approximate "čeček/çiçek" which means "flower". Thus, "Xī-xī Yán" likely meant "Song of Flowers". This video features a reconstruction of Xī-xī Yán from the Kagakuifu, rendered for full ensemble. Following the general characteristics of "yán" music, a faster tempo has been chosen with an emphasis on the jié-gǔ in percussion instrumentation.《惜惜鹽》（又作《昔昔鹽》）為隋唐時期一首小型舞樂，亦為詞牌。目前已知的傳世樂譜有兩種：一為收錄於《歌樂維譜》的橫笛譜，有三帖；另一為《五絃譜》的五弦琵琶譜，有四帖。兩者有共通的基本旋律，但各帖的鋪排方式不同。兩種譜本的樂曲均為「平調」（林鐘羽）。 「惜惜鹽」為胡語漢譯，具體意思及原文一直為學界所探討。根據學者張建華於2018年發表的論文：「鹽」出自突厥語「yïr/yır」，意思為「歌曲」、「民歌」，然而唐樂中的「鹽」曲則指源於疏勒國（約公元前200年～公元790年）一種輕快的舞樂，以羯鼓作主要的敲撃伴奏樂器。至於「惜惜」的意思則暫欠定論，其音近突厥語「čeček/çiçek」，意思為「花」，故「惜惜鹽」或可解作「花之歌」。 本片所錄是以《歌樂維譜》的橫笛譜為基礎，輔以《五絃譜》而制的《惜惜鹽》復原本，參考了「鹽」曲的特性，定以較輕快的速度，敲撃樂器又以羯鼓為主。Reference 參考資料:張建華：《鹽題曲考論》，音樂研究，2018年3期：第83-95頁 [Zhāng Jiàn-huá, "Research on 'Yán' Music (鹽題曲)", Music Research, 2018(3): pp. 83-95.]"çiçek" in ReversoDictionary (Turkish-English dictionary) URL: dictionary.reverso.net/turkish-english/%C3%A7i%C3%A7ek (Accessed: 2023-Oct-15)
【敦煌琵琶譜】第二十曲 長沙女引 [Dunhuang Pipa Score] No. 20 Chang-sha Maiden Prelude 古樂尋蹤_HGofACH 2023-09-04 | 0:00 標題及簡介 Title & Introduction0:21 樂曲演奏 Featured Performance3:24 附錄:琵琶獨奏版 Appendix: Pipa solo ver.6:25 片末 End CreditsChang-sha Maiden Prelude (長沙女引; Cháng-shā-nǚ-yǐn) is the 20th piece from the “Dunhuang Pipa Score” (敦煌琵琶譜). There is no known reference of this piece in historical literature. According to the musicologist Professor Hé Chāng-lín (何昌林教授), it was probably a song about a female dancer referred to as the “Chang-sha Maiden (長沙女)” who was active at the Tán Prefecture (潭州; Tán-zhōu; one of several ancient names for Chang-sha). She was born an illegitimate daughter of Wéi Yìng-wù (韋應物), the prefect of Sū-zhōu (蘇州) during the reign of Emperor Dé-zōng (唐德宗; 742-805). This video features a rendition of Chang-sha Maiden Prelude originally deciphered and interpreted by the musicologist Professor Chen Ying-shi (陳應時教授) from his extensive studies of the Dunhuang Pipa Score. Both an ensemble and solo version are presented.《敦煌琵琶譜》第二十曲為《長沙女引》，但現存文獻中並無任何有關此曲的記載。音樂學者何昌林教授認為『長沙女』即唐德宗時流落潭州（今湖南長沙），本來為蘇州太守韋應物與家姬所生之女的韋姓舞伎。而《長沙女引》則為敘述其人事跡的一首詞曲。 本片所錄《長沙女引》為音樂學者陳應時教授以其『掣拍說』對《敦煌琵琶譜》作考證後之譯本，分別以合奏及獨奏形式呈現。Reference 參考資料:陳應時，《敦煌樂譜解譯辨證》 (Dūnhuáng Yuèpǔ Jiěyì Biànzhèng; Interpretation and Analysis of the Dunhuang Music Score, by Chen Yingshi) 上海音樂學院出版社 (Shanghai Conservatory of Music Press) 2005.6 ISBN 7-80692-147-8何昌林，『唐代舞曲《屈柘枝》——敦煌曲譜《長沙女引》考辨』 (Táng-dài Wǔqǔ “Qū-zhè-zhī” -- Dūnhuáng Qǔ-pǔ “Cháng-shā-nǚ-yǐn” Kǎo-biàn; The Tang Period Dance Music "Qū-zhè-zhī" -- Analysis of the Dunhuang Score "Cháng-shā-nǚ-yǐn", by Hé Chāng-lín) 敦煌學輯刊，1985年第01期，第74至81頁 (Journal of Dunhuang Studies, 1985(01):74-81)
【敦煌琵琶譜】第十九曲 急胡相問 [Dunhuang Pipa Score] No. 19 Fast Foreign Dialogue 古樂尋蹤_HGofACH 2023-08-12 | 0:00 標題及簡介 Title & Introduction0:21 樂曲演奏 Featured Performance3:14 附錄:琵琶獨奏版 Appendix: Pipa solo ver.6:11 片末 End CreditsFast Foreign Dialogue (急胡相問; Jí Hú-xiāng-wèn) is the 19th piece from the “Dunhuang Pipa Score” (敦煌琵琶譜). As the title suggests, it is a fast version of the music Foreign Dialogue (胡相問; Hú-xiāng-wèn) that was part of the repertoire of Jiào-fāng (教坊), an official musical institute serving the Táng court. The term “相問 (xiāng-wèn)” has multiple meanings depending on context but is generally interpreted as “asking / questioning in a dialogue”. This may indicate the music being performed as a duet, or perhaps a reference to its lyrical context which has remained obscure. This video features a rendition of Fast Foreign Dialogue originally deciphered and interpreted by the musicologist Professor Chen Ying-shi (陳應時教授) from his extensive studies of the Dunhuang Pipa Score. Both an ensemble and solo version are presented.《敦煌琵琶譜》第十九曲為《急胡相問》，即以較快速度演奏的《胡相問》。《胡相問》為唐代教坊胡樂，其內容不詳，而『相問』可作『慰問』、『提問』等，故樂曲可能是以對唱或對奏形式表演，但亦可能與曲中含意有關。 本片所錄《急胡相問》為音樂學者陳應時教授以其『掣拍說』對《敦煌琵琶譜》作考證後之譯本，分別以合奏及獨奏形式呈現。Reference 參考資料:陳應時，《敦煌樂譜解譯辨證》 (Dūnhuáng Yuèpǔ Jiěyì Biànzhèng; Interpretation and Analysis of the Dunhuang Music Score, by Chen Yingshi) 上海音樂學院出版社 (Shanghai Conservatory of Music Press) 2005.6 ISBN 7-80692-147-8陳應時，『敦煌樂譜《急胡相問》』 (Dūnhuáng Yuèpǔ “Jí Hú-xiāng-wèn”; The Dunhuang Music Score "Water Drum") 星海音樂學院學報，1995年第Z2期，第25至33頁 (Xīnghǎi yīn yuè xué yuàn xué bào, 1995(Z2):25-33)
【附篇】德伴子 (得寶子) (唐橫笛獨奏) [Addendum] Virtuous (Treasured) Companion (transverse bamboo flute solo) 古樂尋蹤_HGofACH 2023-07-27 | 0:00 標題 Title-- 復原樂曲演奏 Featured Performance0:06 A. J. Marett 譯本 Transcription by A. J. Marett2:09 長谷川景光 譯本 Transcription by Hasegawa Kagemitsu4:27 筆者 譯本 Transcription by this video's author6:32 片末 End CreditsThis video features the solo héng-dí (橫笛; transverse bamboo flute) version of Virtuous Companion (德伴子; Dé-bàn-zi) of three different transcriptions of the original score in Hakugakyu Tekifu (博雅卿笛譜). For the full-ensemble version of this piece (based on the transcription by this video's author), please use the following link:youtu.be/e2GEgP0nfvw此為《德伴子》的唐橫笛獨奏版的三種譯本，原譜收錄於《博雅卿笛譜》。合奏版復原樂曲請用以下連結收看:youtu.be/e2GEgP0nfvwReference 參考資料:Marett, A. J. (1976) Hakuga's Flute Score: A Tenth-century Japanese Source of 'Tang-music' in Tablature (Ph.D. 9823) [Doctoral dissertation, University of Cambridge, UK]長谷川景光 (2018) 《平安朝龍笛要錄》, 平安樂社雅樂研究所 [Hasegawa Kagemitsu (2008) "Excerpts of Ryūteki Music from the Heian Period (Heianchō Ryūteki Yōroku)", Heiangakusha Gagakukenkyuojo] ISBN 978-4-9910195-0-0
【復原唐樂合奏】德伴子 (得寶子) [Reconstructed Tang-period Ensemble Music] Virtuous (Treasured) Companion 古樂尋蹤_HGofACH 2023-07-23 | 0:00 標題 Title0:06 樂譜復原概要 Summary of the Restoration Process1:11 復原樂曲演奏 Featured Performance3:26 片末 End CreditsVirtuous Companion (德伴子; Dé-bàn-zi; とくばんし; Tokubanshi) is a short piece of Táng music for which only the transverse bamboo flute (橫笛; héng-dí) score survived and was preserved in the Hakugakyu Tekifu (博雅卿笛譜) - a.k.a. Shinsen Gakufu (新撰樂譜), Hakuga Chouchikufu (博雅長竹譜), etc. The surviving score shows two sections of the music and is keyed in Dorian mode on B (盤涉/般涉調; Pán-shè/Bān-shè diào). Another version of this piece, keyed in Dorian mode on E (平調; Píng diào) once existed but has been lost. Different homophonic and homonymic forms of the music's title "德伴子" were used across different Japanese historical sources - such as "德伴字 (とくばんじ; Tokubanji)" and "德貫子 (とくかんし; Tokukanshi)" - perhaps due to mistranslation or misinterpretation as it was transmitted in kanji. No reference for "德伴子/德貫子/德伴字" can be found in Chinese historical sources. However, the "Miscellaneous Records on Songs from the Music Bureau (樂府雜錄; Yuè-fǔ Zá-lù)" briefly mentioned a short piece titled "得寶子 (Dé-bǎo-zi; とくほうし; Tokuhōshi)" - literally to mean "Acquiring a Treasure (i.e. Treasured Companion)" - said to be composed by Emperor Xuán-zōng of the Táng dynasty (唐玄宗) shortly after the notorious Yáng Guì-fēi (楊貴妃) became his imperial consort. Possibly, "德伴子/德貫子/德伴字" were misnomers of the title "得寶子" and the music that survived was in fact the same piece composed by the Emperor Xuán-zōng (or a similar one), although this remains to be verified. Transcriptions of Virtuous Comapanion include one by the musicologist Allan J. Marett that was published in 1976 and another by the ryūteki (龍笛) player Hasegawa Kagemitsu (長谷川景光) published in 2018. This video features a reinterpretation of this music after consulting both of these transcriptions, rendered for full-ensemble.《德伴子》為一首唐樂小曲，傳世樂譜目前只餘載於《博雅卿笛譜》(即《新撰樂譜》，又稱《博雅長竹譜》)的橫笛譜。樂曲有兩帖，入「盤涉調」(即「般涉調」)，古時尚有「平調」《德伴子》，但已失傳。 「德伴子(とくばんし)」於不同日本古文獻有不同寫法，如「德伴字(とくばんじ)」、「德貫子(とくかんし)」等，可能是在樂譜傳抄過程中的誤傳。《德伴子》一曲於中國古文獻中並無記載，但《樂府雜錄》則有一段有關樂曲《得寶子》(とくほうし)的記錄，相傳為唐玄宗納楊貴妃後有感「如得至寶也」而創作，而「得寶子」與「德伴子」於形聲及意境上亦相似，故兩者可能為同曲，但仍待考證。 《德伴子》的譯譜有音樂學者 Allan J. Marett 於1976年所發表的譯本，另亦有龍笛演奏家長谷川景光在2018年所發表的譯本。現參考了這兩個譯本，各擇其優，繼而得出錄於本片的第三個譯本，補回除橫笛外的樂器後以合奏本呈現。Reference 參考資料:Marett, A. J. (1976) Hakuga's Flute Score: A Tenth-century Japanese Source of 'Tang-music' in Tablature (Ph.D. 9823) [Doctoral dissertation, University of Cambridge, UK]長谷川景光 (2018) 《平安朝龍笛要錄》, 平安樂社雅樂研究所 [Hasegawa Kagemitsu (2008) "Excerpts of Ryūteki Music from the Heian Period (Heianchō Ryūteki Yōroku)", Heiangakusha Gagakukenkyuojo] ISBN 978-4-9910195-0-0
【附篇】傾杯樂 (琵琶獨奏) [Addendum] Music of the Tilted Wine Cup (pípá solo) 古樂尋蹤_HGofACH 2023-06-25 | 0:00 標題 Title-- 復原樂曲演奏 Featured Performance0:06 破 Broaching Section3:32 急 Rapid Section4:44 片末 End CreditsThis video features a solo version of the pípá (琵琶) part of Music of the Tilted Wine Cup (傾杯樂; Qīng-bēi-yuè) transcribed from the original score in Sango-yōroku (三五要錄). For the full-ensemble version of this piece, please use the following link:youtu.be/Py98D2waAVA此為《傾杯樂》的唐琵琶獨奏版，原譜收錄於《三五要錄》。完整的「燕樂」版復原樂曲請用以下連結收看:youtu.be/Py98D2waAVA
【復原唐樂合奏】傾杯樂 [Reconstructed Tang-period Ensemble Music] Music of the Tilted Wine Cup 古樂尋蹤_HGofACH 2023-06-25 | 0:00 標題 Title0:06 樂譜復原概要 Summary of the Restoration Process-- 復原樂曲演奏 Featured Performance0:47 破 "Broaching" Section4:20 急 "Rapid" Section 7:17 片末 End CreditsMusic of the Tilted Wine Cup (傾杯樂 or 傾盃樂; Qīng-bēi-yuè) was a Táng-period banquet music originated from a drinking song of the North & South Dynasties Period (南北朝; Nán-běi-cháo). By the early Táng Dynasty, it was rearranged and expanded in scale as a dà-qū (大曲). During the reign of Emperor Xuán-zōng (玄宗), this piece was used to accompany horse dances. Later, Emperor Xuān-zōng (宣宗) composed the New Music of the Tilted Wine Cup (新傾盃樂; Xīn Qīng-bēi Yuè) for the bìlì (篳篥; double-reed instrument related to/originated from the duduk). By the early Sòng Dynasty (宋朝), there were already 28 different versions of Music of the Tilted Wine Cup. The expanded version of Music of the Tilted Wine Cup, keyed in "Dà-shí-diào (大食調)" or Mixolydian mode on E, was imported to Japan from Táng China. Its pípá (琵琶; 4-string lute) score, preserved in the Sango Yōroku (三五要錄) is the earliest known surviving score of this piece. Other surviving scores were notated for the zhēng (箏; 13-string zither) and wind instruments such as the shēng (笙; 17-pipe mouth organ), the héng-dí (橫笛; transverse bamboo flute) and the bìlì. This piece originally contained a "Prelude" section (序; xù) of 16 phrases, two "Broaching" sections (破; pò) of 16 phrases each and two "Rapid" sections (急; jí) also of 16 phrases each. Both the second section of "Broaching" and "Rapid" begin with an altered first phrase. However, the "Prelude" had been lost and only the "Broaching" and "Rapid" sections remain. The collection of 25 pípá scores known as the Dūn-huáng Pípá Pǔ (敦煌琵琶譜) contains two pieces that are also titled Music of the Tilted Wine Cup (傾盃樂). The late Professor Chén Yìng-shí (陳應時; 1933-2020) had previously analyzed the two scores and determined that they are of the same music but rendered in different keys/modes. Yet, when compared to the version from the Sango Yōroku, these two scores are clearly different with respect to musical structure, phrasing, key/mode and required tuning of the pípá. Furthermore, different pieces were titled “Music of the Tilted Wine Cup” at different periods. Thus, no clear relationship between the two versions can be established at the moment other than they share the title . This video features a rendition of Music of the Tilted Wine Cup based primarily on the surviving pípá and zhēng scores. Scores notated for the wind instruments were also consulted to reconstruct the music as close to its original form as possible.《傾杯樂》(又作《傾盃樂》)為唐代燕樂，源自南北朝時期之勸酒詞曲，至唐初改編成大曲，以太簇商、中呂商或黃鐘商為宮調，唐玄宗用之作馬舞伴樂。唐宣宗時又創《新傾盃樂》，以篳篥吹奏。至宋初時，《傾盃樂》已有二十八個不同版本。 《傾杯樂》大曲在唐朝時傳入日本，其宮調為大食調（太簇商），現存樂譜以《三五要錄》所載的琵琶譜為最早，同時尚有箏譜(載於《仁智要錄》)、笙譜、橫笛譜、篳篥譜等流傳至今，樂曲保存相對完整。原曲有「序」一帖拍子十六、「破」兩帖有「換頭」拍子各十六、「急」兩帖也有「換頭」拍子亦各為十六，但「序」早已失傳，只餘「破」和「急」兩樂章。 此外，《敦煌琵琶譜》亦收錄了《傾盃樂》兩首。已故學者陳應時(1933-2020)曾為兩譜作譯析，發現兩首《傾盃樂》為同曲異調。但相對於《三五要錄》所載的《傾杯樂》琵琶譜而言，兩首《傾盃樂》在結構、曲式、宮調、以至琵琶的定弦上皆與前者有差別，再而《傾杯(盃)樂》於不同時期亦為不同的樂曲，故未能證明《三五要錄》及《敦煌琵琶譜》的兩種《傾杯(盃)樂》有任何直接關聯。 本片所錄《傾杯樂》以《三五要錄》的琵琶譜及《仁智要錄》的箏譜為基礎，再參考其餘聲部的存譜以補回其他樂器，從而復原樂曲全貌。Reference 參考資料:陳應時，《敦煌樂譜解譯辨正》 (Dūnhuáng Yuèpǔ Jiěyì Biànzhèng; Interpretation and Correction of the Dunhuang Music Score, by Chen Yingshi) 上海音樂學院出版社 (Shanghai Conservatory of Music Press) 2005.6 ISBN 7-80692-147-8陳應時，敦煌樂譜同名曲《傾盃樂》的旋律重合 (Dūnhuáng Yuèpǔ Tóng Míngqǔ “Qīng-bēi Yuè” De Xuánlǜ Chónghé; Coinciding Melodies of “Qīng-bēi Yuè”: Two Melodies of the Same Title in the Dunhuang Music Score, by Chen Yingshi) 音樂藝術(上海音樂學院學報) 2005年第4期 (Yīnyuè Yìshù [Shanghai Conservatory of Music Newspaper] 2005 4th Issue) 1000-4270(2005)04-0089-05
【古譜殘佚復原】浣溪沙 (敦煌文獻 P. 3719) [Reconstructed Pipa Score Fragment] Laundering by the Stream (P. 3719) 古樂尋蹤_HGofACH 2023-05-10 | 0:00 標題 Title0:06 復原過程一覽 Overview of the Restoration Process0:25 樂譜復原概要 Summary of the Restoration Process0:28 (1) 特殊譜字譯析及轉換 Analysis & Conversion of Unique Symbols1:18 (2) 樂曲節拍及結構分析 Analysis of Rhythm & Musical Structure1:48 (3) 確認宮調及琵琶定弦 Determining Key/Mode & Associated Tuning2:24 樂曲演奏 1: 琵琶獨奏 Featured Performance 1: Pípá Solo2:48 樂曲演奏 2: 唐樂合奏 Featured Performance 2: Táng-period Ensemble3:20 片末 End CreditsLaundering by the Stream (浣溪沙; Huàn-xī-shā) was originally part of the repertoire of the Jiào-fāng (教坊) - the official institute of musicians and dancers serving the Táng imperial court. It was also a popular piece among poets for setting lyrics. The title originated from the story of Xī Shī (西施; one of the "Four Beauties of Ancient China") washing her silk scarf by the Ruò-yé Stream (若耶溪), and her beauty captured even the fish in the water they forgot how to swim. By the late Táng (836-907) and Five-Dynasties-and-Ten-Kingdoms (五代十國; Wǔ-dài Shí-guó; 907-979) periods, this piece was rearranged to accompany the Jiǔ-lìng wǔ (酒令舞; a type of drinking game dance with unique rules that was popular at the time) sharing the same title. On the back of the Dunhuang manuscript P. 3719 (Pelliot chinois 3719) is an incomplete copy of the pipa score of Laundering by the Stream. It contains a short passage with only 14 symbols, some of which are unique to this score and not seen anywhere else. Its scoring convention is also different from other surviving pipa scores known to date. This video features an attempt in deciphering this score and reconstructing the music recorded therein based on previous work by multiple scholars and our current understanding of the Táng pipa's playing techniques and scoring convention. Both a pipa solo version and a Táng-period ensemble version of the rescontructed music are presented.《浣溪沙》(又名《浣溪紗》、《浣紗溪》、《山花子》等)，曲名取自西施浣紗於若耶溪而得「沉魚」之代稱的故事，原為唐代教坊樂曲，常被用作詞牌，至晚唐(836-907年)及五代十國時期(907-979年)亦作同名「酒令舞」(一種帶遊戲成分的酒筵樂舞)的伴樂。 《敦煌文獻》 P.3719 稿件的背面記有題為《浣溪沙》的琵琶譜斷簡，只有十四個譜字，為未完成的抄本。其中除常用的琵琶譜字外，也有「復」、「乀」、「幺」等未見於他譜的特殊譜字，記譜方式也與其他現存琵琶譜有異。現以多位近代學者對《浣溪沙》樂譜及與其相應的同名「酒令舞」舞譜(《敦煌文獻》 P.3501)的研究為基礎，加上今人對唐琵琶的記譜方式及演奏技巧、習慣的理解，再輔以其他古文獻的相關資料嘗試為《浣溪沙》樂譜作譯析及重構所載樂曲，在此分別以琵琶獨奏及唐樂合奏形式呈現。Reference 參考資料:饒宗頤，『敦煌琵琶譜《浣溪沙》殘譜研究』 (Dūnhuáng Pípá Pǔ “Huàn-xī-shā” Cánpǔ Yánjiū; Investigation of the Dunhuang Pipa Score Fragment "Huàn-xī-shā", by Jao Tsung-I) 《中國音樂》1985年第一期，第46-47頁 (Zhongguo Yinyue, 1985(1), pp. 46-47)饒宗頤，『浣溪沙琵琶譜發微』 (Huàn-xī-shā Pípá Pǔ Fāwēi; Further details of the Dunhuang Pipa Score "Huàn-xī-shā", by Jao Tsung-I) 《中國音樂》1988年第四期，第3頁 (Zhongguo Yinyue, 1988(4), p. 3)孫坤，『中國古文標點特徵與創制機理：與歐洲標點傳統對比』 (Zhōngguó Gǔwén Biāodiǎn Tèzhǐ Yǔ Chuàngzhì Gīlǐ: Yǔ Ōuzhōu Biāodiǎn Chuántǒng Duìbǐ; The Characteristics and Creation Mechanism of Ancient Chinese Punctuation: A Comparison with the European Tradition, by Sūn Kūn) 《中國語文》2015年第六期，第536-576頁 (Zhōngguó Yǔwén, 2015(6), pp. 536-576)王小盾、高宇星，『敦煌舞譜：一個文化表象的生成與消亡』 (Dūnhuáng Wǔ Pǔ: Yīgè Wénhuà Biǎoxiàng De Shēngchéng Yǔ Xiāowáng; Dunhuang Dance Notations: How did a Cultural Representation Come into Being and Die out?, by Wáng Xiǎo-dùn, Gāo Yǔ-xīng) 《音樂藝術》2018年第二期，第6-18頁 (The Art of Music, 2018(2), pp. 6-18)Wolpert, R. F. "A ninth-century Sino-Japanese lute-tutor" Musica Asiatica, 1977 Vol. 1, pp. 111-165陳應時，《敦煌樂譜解譯辨正》 (Dūnhuáng Yuèpǔ Jiěyì Biànzhèng; Interpretation and Rectification of the Dunhuang Music Score, by Chén Yìng-shí) 上海音樂學院出版社 (Shanghai Conservatory of Music Press) 2005.6 ISBN 7-80692-147-8
【敦煌琵琶譜】第十八曲 水鼓子 [Dunhuang Pipa Score] No. 18 Water Drum 古樂尋蹤_HGofACH 2023-04-22 | 0:00 標題及簡介 Title & Introduction0:21 樂曲演奏 Featured Performance2:45 附錄:琵琶獨奏版 Appendix: Pipa solo ver.5:10 片末 End CreditsWater Drum (水鼓子; Shuǐ-gǔ-zi) was a piece from the repertoire of the Táng-period Jiào-fāng (教坊) - an official institute of court musicians and dancers providing musical entertainment for non-ceremonical occasions. The music was also quite popular for setting lyrics. Currently known surviving scores for this piece include the two found in the “Dunhuang Pipa Score” (敦煌琵琶譜): No. 18, set in Lydian mode on C; and No. 25, set in Lydian mode on A. Notably, there exist many overlapping phrases between the two scores, showing that they are in fact variations of the same music. This video features a rendition of Water Drum (Score No. 18) that was originally deciphered and interpreted by the musicologist Professor Chen Ying-shi (陳應時教授) from his extensive studies of the Dunhuang Pipa Score. Both an ensemble and solo version are presented.《水鼓子》為唐代教坊樂曲，亦多用作詞牌。現存樂譜僅餘《敦煌琵琶譜》所錄的第十八及第二十五曲兩譜本，其宮調分別為『黃鐘宮』及『南呂宮』，而兩譜均有多處相互重合，故可證兩者為同曲的變奏。 本片所錄《水鼓子》為音樂學者陳應時教授以其『掣拍說』對《敦煌琵琶譜》第十八曲作考證後之譯本，在此分別以合奏及獨奏形式呈現。Reference 參考資料:陳應時，《敦煌樂譜解譯辨正》 (Dūnhuáng Yuèpǔ Jiěyì Biànzhèng; Interpretation and Correction of the Dunhuang Music Score, by Chen Yingshi) 上海音樂學院出版社 (Shanghai Conservatory of Music Press) 2005.6 ISBN 7-80692-147-8陳應時，『敦煌樂譜《水鼓子》』 (Dūnhuáng Yuèpǔ “Shuǐ-gǔ-zi”; The Dunhuang Music Score "Water Drum") 中國音樂，1995年第2期，第19至22頁 (Zhōngguó Yīnyuè, 1995(2):19-22)
【敦煌琵琶譜】第十七曲 又急曲子 [Dunhuang Pipa Score] No. 17 Another Fast Piece 古樂尋蹤_HGofACH 2023-04-07 | 0:00 標題及簡介 Title & Introduction0:21 樂曲演奏 Featured Performance1:39 附錄:琵琶獨奏版 Appendix: Pipa solo ver.3:01 片末 End CreditsThe 17th piece found in the “Dunhuang Pipa Score” (敦煌琵琶譜) is titled Another Fast Piece (又急曲子; Yòu-jí Qǔ-zi). It is the last of nine pieces in the collection bearing a title that describes the relative tempo at which it ought to be performed. The inclusion of “Another (又; Yòu)” in the title likely indicates the consecutive playing of this piece (or perhaps the order of performance) with the previous one - Another Slow Piece: Yī Prefecture (又慢曲子伊州; Yòu-màn Qǔ-zi Yī-zhōu). This video features a rendition of Another Fast Piece that was originally deciphered and interpreted by the musicologist Professor Chen Ying-shi (陳應時教授) from his extensive studies of the Dunhuang Pipa Score. Both an ensemble and solo version are presented.《敦煌琵琶譜》第十七曲為《又急曲子》，是以其演奏速度為曲題的九首樂曲之最後一首，題中的『又』字可能表示與之前的《又慢曲子伊州》作連奏或依次演奏。 本片所錄《又急曲子》為音樂學者陳應時教授以其『掣拍說』對《敦煌琵琶譜》作考證後之譯本，分別以合奏及獨奏形式呈現。Reference 參考資料:陳應時，《敦煌樂譜解譯辨正》 (Dūnhuáng Yuèpǔ Jiěyì Biànzhèng; Interpretation and Correction of the Dunhuang Music Score, by Chen Yingshi) 上海音樂學院出版社 (Shanghai Conservatory of Music Press) 2005.6 ISBN 7-80692-147-8
【復原唐樂合奏】劍器渾脫 [Reconstructed Tang-period Ensemble Music] Dance of Swords & Hún-tuō 古樂尋蹤_HGofACH 2023-03-26 | 0:00 標題 Title0:06 樂譜復原概要 Summary of the Restoration Process-- 復原樂曲演奏 Featured Performance0:59 破 Broaching3:30 渾脫 Hún-tuō6:08 片末 End CreditsDance of Swords & Hún-tuō (劍器渾脫; Jiàn-qì Hún-tuō) was a Táng-period composition for accompanying the "strong dance" (健舞; jiàn-wǔ) sharing the same title. "Strong dances" were characterized by rigorous, martial movements and their relatively fast tempo, in contrast to the more elegant and feminine "soft dances" (軟舞; ruǎn-wǔ). In the Chinese title, "Jiàn-qì (劍器)" referred to strong dances incorporating swordplay and using swords or bladed weapons as stage props. "Hún-tuō (渾脫)" was the Chinese phonetic translation of a foreign word, which referred originally to a container made of whole animal skin for carrying water or other goods. "Hún-tuō" also referred to a foreign-style hat made of animal skin, and dance performances where dancers adorned this type of hats were known as "Hún-tuō dance (渾脫舞)". According to the Book of Music (樂書; Yuè-shū), the Dance of Swords & Hún-tuō was created during the reign of Empress Wǔ Zé-tiān (690-705) by incorporating two pieces of different modes: Sword Dance (劍器; Jiàn-qì) in Lydian mode, and Hún-tuō (渾脫) Dance in Aeolian mode. Notably, this was recognized as the first instance of one key encroaching on another (犯調; fàn-diào) and was considered a highly unusual, even inappropriate musical practice. During the Kāi-yuán Period (開元; 713-741), a female dancer named Gōngsūn Dà-niáng (公孫大娘) was renowned for her performance of this piece among other sword dances. Currently, the flute score of Dance of Swords & Hún-tuō preserved in the Hakugakyou Teki-fu (博雅卿笛譜; a.k.a. Shinsen Gaku-fu, 新撰樂譜) is considered the oldest. It is also the most complete by comparison as the same piece found in other score collections known to date contains only the "Hún-tuō" section. Historical records also mention the existence of two prelude sections (序; xù) but these have been lost. All surviving scores of Dance of Swords & Hún-tuō indicate that it is set in Pán-shè diào (盤涉調) or Dorian mode on B. However, an examination of the note symbols and musical phrases identified reveals that it may actually be a fusion of Aeolian on F# (太簇角; tài-cù jué) and Lydian on D (太簇宮; tài-cù gōng), matching the description from the Book of Music. This video features a reconstruction of Dance of Swords & Hún-tuō based on the 1977 transcription of the flute score from Hakugakyou Teki-fu by the musicologist Professor Allan J. Marett. Other surviving scores were also consulted and necessary adjustments were made to Marett's transcription, followed by a full-ensemble realization.《劍器渾脫》為唐代舞樂，用作同名『健舞』（指舞姿雄健、節奏明快的舞蹈）的伴樂。『劍器』指揉合了劍術及以刀劍作舞具的劍舞，而『渾脫』為胡語漢譯，原指以整張剝下的動物皮而製的皮囊，用於載物盛水，後來亦指皮製的『渾脫帽』，佩戴此帽作服飾的舞蹈則為『渾脫舞』。據《樂書》記載，《劍器渾脫》創於武周時期(690-705年)，以本屬宮調(調式)的《劍器》加入角調的《渾脫》而成，為『犯調之始』。開元(713-741年)時，舞伎公孫大娘以善舞《劍器渾脫》、《西河劍器》等多種劍舞而名噪一時。 現存《劍器渾脫》樂譜以載於《博雅卿笛譜》(又名《新撰樂譜》)的橫笛譜為最古老及相對完整，譜中錄有『破』、『渾脫』各一帖，而其他樂譜所載者僅餘『渾脫』部分，樂曲本來還有『序』兩帖但均已失傳。《劍器渾脫》於現存樂譜中列作盤涉調(太簇羽)，但依其譜字及樂句推斷則屬『太簇角犯太簇宮』，與《樂書》所述相合。本片所錄《劍器渾脫》以音樂學者A. J. Marett教授於1977年所發表的《博雅卿笛譜》譯本為基礎，再參考其他器樂存譜對該譯本作適當調整，進而重構樂曲全貌。Reference 參考資料:Marett, A. J., "Tunes in flute-tablature from a Japanese source of the tenth century", Musica Asiatica, edited by Laurence Picken, Oxford University Press, 1977, pp. 51-52.韓寧, 《渾脫舞》考, 民族文學研究, 2012（05):58-68. (Hán Níng, "Investigation of the 'Hún-tuō Dance'", Studies of Ethnic Literature, 2012(05):58-68)
【復原唐樂合奏】撥頭 (拔頭) [Reconstructed Tang-period Ensemble Music] Bō-tóu (Bá-tóu) 古樂尋蹤_HGofACH 2023-02-26 | 0:00 標題 Title0:06 樂譜復原概要 Summary of the Restoration Process0:51 復原樂曲演奏 Featured Performance4:22 片末 End CreditsBō-tóu (撥頭 or 鉢頭; also known as 拔頭 Bá-tóu) was a gē-wǔ-xì (歌舞戲) originated from Central Asia that was widely performed during the Táng dynasty. Gē-wǔ-xì was a type of dance drama with a simple plot conveyed through music, song and dance that is sometimes regarded as a prototype of Chinese opera (戲曲; xì-qǔ). The story of Bō-tóu tells of a sorrowful man in search of a tiger in the mountains that has wounded/slain his father for vengeance. The tortuous mountain roads was represented by repeating the music eight times and thus Bō-tóu was also known at the time as the "eight-fold drama (八叠戲; Bā-dié-xì)". The choreography was characterized with dramatic sweeping head movements of the dancer adorning a mask with long, unkempt faux hair in depiction of the main character in rage and distress. Notably, while earlier performance of Bō-tóu centered on the theme of vengeful heroism, it was later evolved to focus on the mourning of the main character for his slain father while in search for the body instead during the late Táng period (9th century). The pípá score of Bō-tóu found in the Biwa Shochoushi-fu (琵琶諸調子譜) is currently the earliest known surviving score for this piece. Scores for all major winds and strings as well as percussion have also survived. The music is set in Dà-shí diào (大食調) or Mixolydian mode on E and has 15 rhythmic units. This video features a rendition of Bō-tóu based primarily on the pípá score from the Biwa Shochoushi-fu. Scores for the other parts were also consulted for a final full-ensemble realization of this piece.《撥頭》（又作《鉢頭》，《拔頭》）為唐代歌舞戲，由西域傳入。『歌舞戲』是當時一種集音樂、歌舞及戲劇於一體的表演形式，有簡單的情節，現今常被視作中國戲曲的雛形，有史可依之例子除《撥頭》外，亦有《大面》（《蘭陵王》）、《踏謠娘》等。《撥頭》講述一胡人因其父被虎所噬而上山將其尋獲及殺死，故事中山路迂迴有八折，以樂奏八叠來代表，所以《撥頭》亦稱作『八叠戲』。舞者以胡服打扮，戴披長髮胡人假面，其舞蹈多有撥頭甩髮的動作。值得一提，早期的《撥頭》表演以胡人殺猛獸報父仇為主題，但至晚唐時則變成主角哭啼着上山尋父屍行孝。 現存《撥頭》樂譜以《琵琶諸調子譜》所載的琵琶譜為最早，同時亦有其他管弦及擊樂樂譜流傳，樂曲保存相對完整。其宫調為大食調（太簇商），有十五拍，同曲依舞奏若干遍。本片所錄《撥頭》為《琵琶諸調子譜》琵琶譜的復原本，再參考其餘聲部的樂譜補回其他樂器以復原樂曲全貌。Reference 參考資料:葛曉音，户倉英美 『"撥頭"考』，中華文史論叢，2013.1，總第109期，第329-399頁 (Gé Xiǎo-yīn, Tokura Hidemi "Investigation of the Term Botou", Journal of Chinese Literature and History, 2013.1, Issue 109, pp. 329-399)DOI:10.16837/j.cnki.1002-0039.2013.01.020
【敦煌琵琶譜】第十六曲 又慢曲子伊州 [Dunhuang Pipa Score] No. 16 Another Slow Piece - Yī Prefecture 古樂尋蹤_HGofACH 2023-02-12 | 0:00 標題及簡介 Title & Introduction0:21 樂曲演奏 Featured Performance2:27 附錄:琵琶獨奏版 Appendix: Pipa solo ver.4:31 片末 End CreditsYī Prefecture (伊州; Yī-zhōu) was a dà-qū (大曲; a large-scale suite incorporating instrumental music, vocal music and dance) from the Táng dynasty. It was first introduced to the Táng court by Gài Jiā-yùn (蓋嘉運), Governor of the Hé-xī Region (河西節度使; Hé-xī Jié-dù-shǐ) during the early reign (713-741) of Emperor Xuán-zōng (唐玄宗). Like other pieces introduced from the empire's frontiers, Yī Prefecture was named after the territory from which it originated. According to the Bì-jī-màn-zhì (碧雞漫志), Yī Prefecture was originally set in Shāng-diào (商調; Mixolydian mode). This contradicts with its two surviving scores from the Dunhuang Pipa Score (敦煌琵琶譜; Dūn-huáng Pípá-pǔ) - Another Slow Piece: Yī Prefecture (又慢曲子伊州) and Yī Prefecture (伊州) - that were set in Lydian mode (宮調; Gōng-diào), likely the result of a key/modal change from the original. This video features an instrumental rendition of Another Slow Piece: Yī Prefecture that was originally deciphered and interpreted by the musicologist Professor Chen Ying-shi (陳應時教授) from his extensive studies of the Dunhuang Pipa Score. Both an ensemble and solo version are presented.《伊州》原為唐代大曲，由河西節度使蓋嘉運於開元年間進獻給唐玄宗，與當時自邊陲之地所進樂曲如《甘州》、《凉州》等均以其發源地冠名。據《碧雞漫志》所載：《伊州》為商調曲(指調式)，但不知為七種商調之何調。現存樂譜僅餘《敦煌琵琶譜》所錄《又慢曲子伊州》及《伊州》兩首，均為宫調曲，與《碧雞漫志》所述相異，多數為原曲之變調。 本片所錄《又慢曲子伊州》為學者陳應時教授以其『掣拍說』對《敦煌琵琶譜》作考證後譯本，分別以合奏及獨奏形式呈現。Reference 參考資料:陳應時，《敦煌樂譜解譯辨正》 (Dūnhuáng Yuèpǔ Jiěyì Biànzhèng; Interpretation and Correction of the Dunhuang Music Score, by Chen Yingshi) 上海音樂學院出版社 (Shanghai Conservatory of Music Press) 2005.6 ISBN 7-80692-147-8
【敦煌琵琶譜】第十五曲 慢曲子心事子 [Dunhuang Pipa Score] No. 15 A Slow Piece - Song of a Troubled Heart 古樂尋蹤_HGofACH 2023-01-29 | 0:00 標題及簡介 Title & Introduction0:21 樂曲演奏 Featured Performance2:15 附錄:琵琶獨奏版 Appendix: Pipa solo ver.4:12 片末 End CreditsSong of a Troubled Heart (心事子; Xīn-shì-zi) was a song from the Táng period. It was also part of the repertoire of Jiào-fāng (教坊), an official musical institute serving the Táng imperial court. The original lyrics remain unknown - possibly one of the many with lost titles that are part of a compilation now known as the Dunhuang Lyrics (敦煌曲子詞; Dūnhuáng Qǔ-zǐ-cí). Currently, the only known surviving score of this piece is the one preserved in the Dunhuang Pipa Score (敦煌琵琶譜; Dūnhuáng Pípá Pǔ), titled “A Slow Piece: Song of a Troubled Heart (慢曲子心事子; Màn Qǔ-zi Xīn-shì-zi)”. This video features an instrumental rendition of Song of a Troubled Heart that was originally deciphered and interpreted by the musicologist Professor Chen Ying-shi (陳應時教授) from his extensive studies of the Dunhuang Pipa Score. Both an ensemble and solo version are presented.《心事子》為唐代詞曲，亦為教坊樂曲，曲詞不詳（可能為多首佚名的『敦煌曲子詞』其中一首），原譜亦已佚散，故《敦煌琵琶譜》中所存的《慢曲子心事子》為已知的傳世孤譜。 本片所錄《慢曲子心事子》為學者陳應時教授以其『掣拍說』對《敦煌琵琶譜》作考證後譯本，分別以合奏及獨奏形式呈現。Reference 參考資料:陳應時，《敦煌樂譜解譯辨正》 (Dūnhuáng Yuèpǔ Jiěyì Biànzhèng; Interpretation and Correction of the Dunhuang Music Score, by Chen Yingshi) 上海音樂學院出版社 (Shanghai Conservatory of Music Press) 2005.6 ISBN 7-80692-147-8
【敦煌琵琶譜】第十四曲 又慢曲子 [Dunhuang Pipa Score] No. 14 Another Slow Piece 古樂尋蹤_HGofACH 2023-01-22 | 0:00 標題及簡介 Title & Introduction0:21 樂曲演奏 Featured Performance1:33 附錄:琵琶獨奏版 Appendix: Pipa solo ver.2:50 片末 End CreditsThe 14th piece found in the “Dunhuang Pipa Score” (敦煌琵琶譜) is titled Another Slow Piece (又慢曲子; Yòu-màn Qǔ-zi). Similar to 8 other pieces in the collection, the title describes the relative tempo at which this piece ought to be performed. In addition, the inclusion of “Another (又; Yòu)” in the title likely indicates consecutive playing of this piece with the previous one - Another Slow Piece: Moon over the Western River (又慢曲子西江月; Yòu-màn Qǔ-zi Xī-jiāng-yuè). Notably, both pieces also have quite a few stylistic elements in common. This video features a rendition of Another Slow Piece that was originally deciphered and interpreted by the musicologist Professor Chen Ying-shi (陳應時教授) from his extensive studies of the Dunhuang Pipa Score. Both an ensemble and solo version are presented.《敦煌琵琶譜》第十四曲為《又慢曲子》，與其他八首樂曲同樣以其演奏的速度為曲題，而其中的『又』字可能表示與之前的《又慢曲子西江月》作連奏，兩曲亦有不少相似之處。 本片所錄《又慢曲子》為音樂學者陳應時教授以其『掣拍說』對《敦煌琵琶譜》作考證後之譯本，分別以合奏及獨奏形式呈現。Reference 參考資料:陳應時，《敦煌樂譜解譯辨正》 (Dūnhuáng Yuèpǔ Jiěyì Biànzhèng; Interpretation and Correction of the Dunhuang Music Score, by Chen Yingshi) 上海音樂學院出版社 (Shanghai Conservatory of Music Press) 2005.6 ISBN 7-80692-147-8
【附篇】玉樹後庭花 (箏獨奏) [Addendum] Jade Tree & Blossoms in the Rear Yard (zhēng solo) 古樂尋蹤_HGofACH 2023-01-14 | 0:00 標題 Title0:06 復原樂曲演奏 Featured Performance2:51 片末 End CreditsThis video features a solo version of the zhēng (箏) part of Jade Tree & Blossoms in the Rear Yard (玉樹後庭花; Yù-shù Hòu-tíng-huā) transcribed from the original score in Jinchi-yōroku (仁智要錄). For the full-ensemble version of this piece, please use the following link:youtube.com/watch?v=INlZG9n47wA此為《玉樹後庭花》的唐箏獨奏版，原譜收錄於《仁智要錄》。完整的「清商樂」版復原樂曲請用以下連結收看:youtube.com/watch?v=INlZG9n47wA
【復原唐樂合奏】玉樹後庭花 [Reconstructed Tang-period Ensemble Music] Jade Tree & Blossoms in the Rear Yard 古樂尋蹤_HGofACH 2023-01-12 | 0:00 標題 Title0:06 樂譜復原概要 Summary of the Restoration Process0:28 復原樂曲演奏 Featured Performance5:43 片末 End CreditsJade Tree & Blossoms in the Rear Yard (玉樹後庭花; Yù-shù Hòu-tíng-huā) was originally a song composed by Chén Hòu-zhǔ (陳後主), the last emperor of the Chén Dynasty (陳朝; 557-589) during the North-and-South Dynasties period (南北朝; 420-589). Historically, this piece was seen to promote "indulgence and decadence". Thus, following the downfall of the Chén Dynasty, Jade Tree & Blossoms in the Rear Yard was considered "the music that destroys nations (亡國之音; wáng-guó-zhī-yīn)". During the Táng Dynasty, this piece was part of the "Qīng-shāng Yuè (清商樂)" - one of nine (later ten) major court repertories consisted of music of Hàn-Chinese origin. Later on, the rise in popularity of "foreign music (胡樂; hú-yuè)" led to the decline of "Qīng-shāng Yuè" and the melody of this piece was gradually forgotten. The oldest surviving scores of Jade Tree & Blossoms in the Rear Yard include the zhēng score from Jinchi-yōroku (仁智要錄) and the pípá score from Sango-yōroku (三五要錄), both set in Yuè diào (越調) or Mixolydian mode on D. Using the two scores as the basis, other surviving scores written for the wind instruments were also consulted to reconstruct the music in entirety. Furthermore, the instrumentation of the current rendition is based on descriptions of "Qīng-shāng Yuè" from the Old Book of Táng (舊唐書; Jiù-táng-shū). These include various winds and strings of Han-Chinese origin and percussion instruments such as the tuned bells (編鐘; biān-zhōng) and tuned stone chimes (編磬; biān-qìng).《玉樹後庭花》，原為南陳末期陳後主所創詞曲，其詞「豔麗輕蕩」，及後陳朝覆滅而被視為「亡國之音」。唐朝時，《玉樹後庭花》為九、十部樂之「清商樂」(自三國以來的漢族傳統音樂)中的一曲，同時又作為教坊散樂及詞曲表演，其後因胡樂盛行而「清商樂」被冷落，《玉樹後庭花》的旋律亦漸被遺忘。 現存《玉樹後庭花》最早樂譜有載於《仁智要錄》的箏譜及《三五要錄》的琵琶譜，屬越調(壱越調)，今以此兩樂譜為基礎，再參考其他樂器譜本以復原全曲。另外亦據《舊唐書》有關「十部樂」之一「清商樂」的描述，在配器上採用了中原傳統管弦及編鐘、編磬等樂器，有別於唐樂中常用、源自龜兹樂的胡樂器。
【敦煌琵琶譜】第十三曲 又慢曲子西江月 [Dunhuang Pipa Score] No. 13 Another Slow Piece - Moon over the Western River 古樂尋蹤_HGofACH 2022-12-27 | 0:00 標題及簡介 Title & Introduction0:21 樂曲演奏 Featured Performance2:13 附錄:琵琶獨奏版 Appendix: Pipa solo ver.4:08 片末 End CreditsMoon over the Western River (西江月; Xī-jiāng Yuè) was a song from the Táng period that was also performed as a purely instrumental piece by the Jiào-fāng (教坊), an official musical institute serving the Táng imperial court. Unlike its lyrics that have been passed down from different periods, there is only one known surviving score of this piece that was preserved in the Dunhuang Pipa Score (敦煌琵琶譜; Dūnhuáng Pípá Pǔ) titled as “Another Slow Piece: Moon over the Western River (又慢曲子西江月; Yòu-màn Qǔ-zi Xī-jiāng Yuè)”. Modern scholars have made multiple attempts in reconstructing the complete song. This video features an instrumental rendition of Moon over the Western River that was originally deciphered and interpreted by the musicologist Professor Chen Ying-shi (陳應時教授) from his extensive studies of the Dunhuang Pipa Score. Both an ensemble and solo version are presented.《西江月》為唐代詞曲，亦為教坊散樂，雖有歷代曲詞保存至今，但原樂譜已佚散，只餘下《敦煌琵琶譜》中所錄的《又慢曲子西江月》一首。多位學者曾先後為其作詞曲重組的相關研究，現時有數種不同譯本。 本片所錄《又慢曲子西江月》為音樂學者陳應時教授以其『掣拍說』對《敦煌琵琶譜》作考證後譯本，分別以合奏及獨奏形式呈現。Reference 參考資料:陳應時，《敦煌樂譜解譯辨正》 (Dūnhuáng Yuèpǔ Jiěyì Biànzhèng; Interpretation and Correction of the Dunhuang Music Score, by Chen Yingshi) 上海音樂學院出版社 (Shanghai Conservatory of Music Press) 2005.6 ISBN 7-80692-147-8
【敦煌琵琶譜】第十二曲 頃(傾)盃樂 [Dunhuang Pipa Score] No. 12 Music of the Tilted Wine Cup 古樂尋蹤_HGofACH 2022-12-23 | 0:00 標題及簡介 Title & Introduction0:21 樂曲演奏 Featured Performance1:31 附錄:琵琶獨奏版 Appendix: Pipa solo ver.2:45 片末 End CreditsThe 12th composition found in the “Dunhuang Pipa Score” (敦煌琵琶譜) is titled Music of the Tilted Wine Cup (頃盃樂; Qīng-bēi Yuè). Notably, “頃” is the ancient form of “傾” (both are pronounced qīng, meaning ‘to tilt’ in the current context) and thus the title is identical to the 3rd composition “傾盃樂”. Although differing in both the note symbols and tuning utilized, a comparative analysis of the two pieces by the musicologist Professor Chen Ying-shi (陳應時教授) has revealed extensive melodic overlaps, showing that the two compositions are actually identical despite being set in a different key/mode. This video features a rendition of Music of the Tilted Wine Cup (頃盃樂) that was originally deciphered and interpreted by Professor Chen from his extensive studies of the Dunhuang Pipa Score. Both an ensemble and solo version are presented.《敦煌琵琶譜》第十二曲題為《頃盃樂》，而『頃』為『傾』的古寫，與第三曲《傾盃樂》同名，但所用譜字及琵琶定弦均有別。音樂學者陳應時教授曾將兩曲作譯析對比，發現兩者旋律有多處吻合，故兩首《傾盃樂》實為同曲異調。 本片所錄《頃盃樂》為陳教授以其『掣拍說』對《敦煌琵琶譜》作考證後之譯本，分別以合奏及獨奏形式呈現。Reference 參考資料:陳應時，《敦煌樂譜解譯辨正》 (Dūnhuáng Yuèpǔ Jiěyì Biànzhèng; Interpretation and Correction of the Dunhuang Music Score, by Chen Yingshi) 上海音樂學院出版社 (Shanghai Conservatory of Music Press) 2005.6 ISBN 7-80692-147-8陳應時，敦煌樂譜同名曲《傾盃樂》的旋律重合 (Dūnhuáng Yuèpǔ Tóng Míngqǔ “Qīng-bēi Yuè” De Xuánlǜ Chónghé; Coinciding Melodies of “Qīng-bēi Yuè”: Two Melodies of the Same Title in the Dunhuang Music Score, by Chen Yingshi) 音樂藝術(上海音樂學院學報) 2005年第4期 (Yīnyuè Yìshù [Shanghai Conservatory of Music Newspaper] 2005 4th Issue) 1000-4270(2005)04-0089-05
【敦煌琵琶譜】第十一曲 (佚名) [Dunhuang Pipa Score] No. 11 (Title lost) 古樂尋蹤_HGofACH 2022-12-18 | 0:00 標題及簡介 Title & Introduction0:21 樂曲演奏 Featured Performance1:17 附錄:琵琶獨奏版 Appendix: Pipa solo ver.2:18 片末 End CreditsThe title of the 11th composition found in the “Dunhuang Pipa Score” (敦煌琵琶譜) has been lost. It was likely cut off as people of that time resized and pasted together what used to be separate music scores into one and used the back for copying a Buddhist scripture. Modern analysis of the note symbols utilized and their handwriting style suggests that compositions 11 through 20 belong to the same group and they employed the same tuning “Acea”, also known as “Fēng-xiāng diào (風香調)” that was commonly used during the Táng period. This video features a rendition of the titleless 11th piece that was originally deciphered and interpreted by the musicologist Professor Chen Ying-shi (陳應時教授) from his extensive studies of the Dunhuang Pipa Score. Both an ensemble and solo version are presented.《敦煌琵琶譜》所載第十一曲為佚名曲，因時人曾將曲譜作裁剪併合以用其背面抄寫佛經，而曲題正位於被裁的部分。現代學者根據所用譜字及筆跡的類同推斷第十一至二十曲屬同一組樂曲，其定弦為唐代琵琶常用的『風香調』（Acea）。 本片所錄佚名樂曲為音樂學者陳應時教授以其『掣拍說』對《敦煌琵琶譜》作考證後之譯本，分別以合奏及獨奏形式呈現。Reference 參考資料:陳應時，《敦煌樂譜解譯辨正》 (Dūnhuáng Yuèpǔ Jiěyì Biànzhèng; Interpretation and Correction of the Dunhuang Music Score, by Chen Yingshi) 上海音樂學院出版社 (Shanghai Conservatory of Music Press) 2005.6 ISBN 7-80692-147-8饒宗頤,「敦煌琵琶譜寫卷原本之考察」,《音樂藝術》, 1990年 04期 (Ráo Zōng-yí, "Investigation of the Original State of the Dunhuang Pipa Score", Yīn-yuè Yì-shù, 1990, Vol. 4) DOI : 10.19359/j .cn31-1004/j .1990.04.001
【復原唐樂合奏】娬媚娘．破 [Reconstructed Tang-period Ensemble Music] Glamorous Maiden (Broaching Section) 古樂尋蹤_HGofACH 2022-12-11 | 0:00 標題 Title0:06 樂譜復原概要 Summary of the Restoration Process0:43 復原樂曲演奏 Featured Performance2:53 片末 End CreditsGlamorous Maiden (娬媚娘 or 武媚娘; Wǔ-mèi-niáng) was a popular piece for dance accompaniment and lyrics-setting during the Táng dynasty (唐朝; 618-907 A.D.). “娬(武)媚娘” is the ancient way of writing “嫵媚娘” meaning “glamorous maiden” in Chinese. The music was already wide-spread and performed regularly since the Northern and Southern Dynasties Period (南北朝; 420-589 A.D.) and throughtout the Suí dynasty (隋朝; 581-619 A.D.). After Wǔ Zé-tiān (武則天) usurped the throne in 690 A.D., the song’s title was changed to “舞媚娘” as “武媚” was a name once used by the empress and any subsequent usage became taboo (名諱). There are several surviving scores of the Glamorous Maiden: a Pípá (琵琶) score from Tenkanraku hoka Gigaku-fu (天感樂外妓樂譜); a Shēng (笙) score from Chingaku-rui (珍樂類); and a transverse flute (橫笛; Héng-dí) score from Motomasa no Fue-fu (基政笛譜). All three bear the same key signature of Píng diào (平調; Dorian mode on E). The original composition consisted of multiple sections: one "free sound (i.e. free-tempo)" section (遊聲; yóu-shēng); one prelude (序; xù); and one "broaching" section (破; pò; some sources indicate two). Both the "free sound" section and prelude were lost and only the "broaching" survives to date. In addition, Glamorous Maiden (武媚娘) is also found in the Gogen-fu (五絃譜), written in the notation for the 5-string Pípá (五弦琵琶). Notably, this is the most ancient of known surviving scores and also the most complete. It has five sections, with the 5th section, "enter broaching" (入破; rù-pò) basically the same as the "broaching" section of the three scores discussed above. Nevertheless, there are major and minor differences in their melodic structure. Furthermore, it is unclear if the other sections are related to the lost "Free Sound" section and prelude. This video features a reconstruction of Glamorous Maiden based primarily on the restored Pípá score, supplemented with the Shēng and transverse flute scores, followed by a full-ensemble realization by filling in the rest of the instruments.《娬媚娘》(或作《武媚娘》；『娬媚』、『武媚』均為『嫵媚』之古寫)為唐代舞樂，亦用作詞牌。樂曲自南北朝時期已廣泛流傳。武周篡唐後，因武則天當才人時曾受唐太宗賜號『武媚』，故避諱而改曲名為《舞媚娘》，另亦有《大舞媚娘》。 現存《娬媚娘》樂譜有《天感樂外妓樂譜》所載的琵琶譜、《珍樂類》的笙譜及《基政笛譜》的橫笛譜，均為平調（林鐘羽)。全曲本有『遊聲』一帖、『序』一帖及『破』一帖(一説為二帖、有『換頭』)，『遊聲』和『序』皆已失傳，僅餘『破』流傳至今。另亦有《五絃譜》所收錄的《武媚娘》，為諸譜中最古老亦最完整，全譜分五段(第一、二及三段相同)，其中第五段『入破』與之前所述三譜的『破』大致相同，為同曲，但傳承中已有許多變異，而其餘段落是否即已失傳的『遊聲』及『序』也暫時無從稽考。本片所錄《娬媚娘》以復原後的琵琶譜為主，輔以笙譜及橫笛譜，再補回其他樂器以重構樂曲全貌。Reference 參考資料:劉濤 『唐樂曲《娬媚娘》的古譜復原演奏研究：以五弦琴譜為中心』，第14屆中日音樂比較研究國際學術研討會，2021年 (Liú Tāo, "Research on the Restoration and Performance of the Ancient Tang Music Score 'Wǔ-mèi-niáng' - with the 5-string Pipa at the Centre", The 14th International Symposium on Comparative Studies of Chinese & Japanese Music, 2021)bilibili.com/video/BV1Xv411G76r
【復原唐樂合奏】凉州 [Reconstructed Tang-period Ensemble Music] Liáng Prefecture 古樂尋蹤_HGofACH 2022-11-29 | 0:00 標題 Title0:06 樂譜復原概要 Summary of the Restoration Process0:29 復原樂曲演奏 Featured Performance3:03 附錄 Appendix5:26 片末 End CreditsLiáng Prefecture (凉州; Liáng-zhōu), also known as Western Liáng Prefecture (西凉州; Xī-liáng-zhōu), was a dà-qū (大曲) - a large-scale composition incorporating both instrumental and vocal music and dance - from the Táng dynasty. It was first introduced to the Táng court around 723-733 as a tribute from the Governor of the Xī-liáng Prefecture (present-day Wǔ-wēi City, Gānsù Province, China), Guō Zhī-yùn (西凉府都督郭知運) to Emperor Xuán-zōng (唐玄宗). Like other pieces introduced from the empire's frontiers, Liáng Prefecture (the music) was named after the Xī-liáng Prefecture (the territory) from which it originated. According to the Bì-jī-màn-zhì (碧雞漫志), Liáng Prefecture was set in Shā-tuó diào (沙陀調; Lydian mode on D) and had 24 sections in total. Several of the sections were highly popular for use in lyrics-setting and thus frequently performed by musicians of that time, but the other sections were gradually forgotten. By the mid-Heian period (after 900) after the music was imported to Japan, the melody of only one of the 24 sections remained known. Its title in Sino-Japanese was also mistaken as "最凉州 (さいりょうしゅう; Sairyōshū)", likely due to "最 (さい; sai)" having the same pronounciation as "西" in Japanese Go-on (吳音). The oldest surviving scores of Liáng Prefecture include the pípá score from Sango-yōroku (三五要錄) and the zhēng score from Jinchi-yōroku (仁智要錄). Both were set in Lydian mode on D - the same as described in the Bì-jī-màn-zhì. Using these two scores as the basis, other surviving scores written for the wind instruments were also consulted in the reconstruction of the entire piece. Furthermore, according to the Old Book of Táng (舊唐書), music of the Xī-liáng Prefecture, known as "Xī-liáng-yuè (西凉樂)", utilized elements and musical instruments of both Han-Chinese and mid-Asian origins. Namely, in addition to the winds, strings and percussion typically used in Táng-period music, other Han-Chinese instruments such as the tuned bells (編鐘; biān-zhōng), tuned stone chimes (編磬; biān-qìng), panflute (排簫; pái-xiāo) and wò-kōnghóu (卧箜篌; ancestor of the Korean geomungo) were also used. This video features a rendition of the reconstructed Liáng Prefecture that includes these instruments.《凉州》，又名《西凉州》，為唐代大曲，由西凉府(今甘肅武威)都督郭知運於開元中期向唐玄宗進獻，與當時自邊陲之地所進樂曲如《甘州》、《伊州》、《胡渭州》等均以其發源地冠名。據《碧雞漫志》引其他史料所道：《凉州》屬正宮調(依唐古律為太簇宮，即沙陀調)，全曲有二十四遍(指樂曲段落)之多，其中數遍在當時常被用作詞牌使其廣泛流傳，而樂工亦甚少從頭到尾演奏，以致其他段落逐漸失傳，至後來《凉州》傳至日本平安中期時只剩下一遍，其曲名也被訛傳為「最凉州」(因「最」於日語吳音作「さい(sai)」，與「西」同音)。 現存《凉州》最早樂譜有載於《三五要錄》的琵琶譜及《仁智要錄》的箏譜，屬沙陀調，與《碧雞漫志》所載相合。今以此兩樂譜為基礎，再參考其他樂器譜本以復原全曲。另外亦據《舊唐書》有關「十部樂」之一「西凉樂」的描述，在配器上除了常用的管弦及腰鼓、齊鼓等，亦採用了編鐘、編磬、排簫及卧箜篌等原用於「清商樂」的中原樂器。參考資料 Reference:"Tang-era piece: Zui Liangzhou《㝡凉州》" by David Badagnani (2021)earlychinesemusic.blogspot.com/search?q=%E5%87%89%E5%B7%9E
【古譜殘佚復原】番假崇 (天平琵琶譜) [Restored Pipa Score Fragment] Fān-jiǎ-chóng: A Foreign Masked Ritual 古樂尋蹤_HGofACH 2022-11-11 | 0:00 標題 Title0:06 樂譜復原概要 Summary of the Restoration Process0:46 樂曲演奏 1 (以陳應時「掣拍說」譯) Featured Performance 13:24 樂曲演奏 2 (依《南宮譜》「案譜法」譯) Featured Performance 26:25 片末 End CreditsThe Tempyō Biwa-fu (天平琵琶譜) is currently the oldest surviving score for the Táng-period pípá. It consists of a single page only and thus just a fragment of the original. On the back of the page bears the year "Tempyō 19 (天平十九年)" or year 747, which provides an approximate date of the score's creation. Notably, it was written in a notation highly similar to the Gogen-fu (五絃譜; circa 773) and the Dūnhuáng Pípá Score (敦煌琵琶譜; circa 933). The music contained therein, titled "Fān-jiǎ-chóng (番假崇)" meaning "foreign masked ritual", is consisted of two parts: the first resembles a type of short tuning piece known as "xián-hé (絃合)" (a.k.a. "bō-hé (撥合)"); the second is a pípá "diào-zi-pǐn (調子品; a type of short solo piece)" utilizing the Huáng-zhōng diào tuning (黃鐘調; EBea) of which the second half is missing. At the lower right corner of the score is the phrase "Yī-chéng-móyé-xíng (一乘摩耶行)" apparently of Buddhist origin. Musicologist Professor Hé Chāng-lín (何昌林教授) proposed that it may refer to a music-and-dance troupe called "móyé-xíng (摩耶行)" ('行' generally means a group) that was stationed at the Yī-chéng Temple (一乘寺) located in Jiàn-kāng (建康), China during the Southern Liáng dynasty (南梁; 502-557). Alternatively, "一乘寺" may also refer to the Ichijō-ji Temple (一乘寺) in Japan that was established by Hōdō Sennin (法道仙人) circa 650. In his thesis "A ninth-century Sino-Japanese lute-tutor" (Musica Asiatica, 1977, vol. 1), musicologist Professor Rembrandt F. Wolpert presented a comparative analysis of the Fān-jiǎ-chóng from Tempyō Biwa-fu with two versions of a diào-zi-pǐn that uses the Huáng-zhōng diào tuning preserved, respectively, in the Fushiminomiya version of the Nangu Biwa-fu (南宮琵琶譜-伏見宮本) and the Sango-yōroku (三五要錄). Importantly, Wolpert demonstrated that the three melodies are almost identical to one another. Furthermore, the fact that the Sango-yōroku version of the melody was preserved in its entirety provided the key theoretical foundation in restorating Fān-jiǎ-chóng to a near-complete form. This video features a reconstruction of Fān-jiǎ-chóng by patching the missing portions with corresponding parts from both the Fushiminomiya and Inzen (院禪本) versions of the Nangu Biwa-fu, with minor adjustments. The restored melody is interpreted using either the "chè-pāi" rhythmic theory (掣拍說) established by Professor Chén Yìng-shí (陳應時教授) or the original notational instructions from the Nangu Biwa-fu.《天平琵琶譜》為現存最古老的唐代琵琶譜，僅餘一頁紙，從其背面所載「天平十九年」(公元747年)大致可證明其書寫年代。樂譜記有《番假崇》琵琶調子品一首，用「黃鐘調」定弦(EBea)，其譜字與同時期的《五絃譜》(約在773年成書)及後期的《敦煌琵琶譜》(933年後成書)十分相似。全曲可分為兩部：前半部應為一黃鐘調「絃合」(或稱「撥合」)；後半部則為調子品本曲，但不完整。樂譜右下方有「一乘摩耶行」五字，應與佛教有關但不明其意，學者何昌林教授認為可能是指一個在南梁時期(502-557年)以「摩耶」為名的樂舞班、供養於建康一乘寺(以其凹凸花寺門聞名)，但亦可能是指由法道仙人於650年在日本所創的一乘寺。 學者R.F.Wolpert教授在其論文「A ninth-century Sino-Japanese lute-tutor」(Musica Asiatica, 1977年 第一册)中對《天平譜》的《番假崇》本曲及一首分別載於《南宮琵琶譜(伏見宮本)》和《三五要錄》的黃鐘調琵琶調子品作對比分析，發現三首樂曲的譜字均極其吻合，而《三五要錄》的調子品保存着完整旋律，為樂譜復原奠定了重要理論基礎。本片所錄《番假崇》涵蓋其「絃合」及以《南宮譜》「伏見宮本」與「院禪本」段落為《天平譜》作補遺的調子品本曲，分別以陳應時「掣拍說」及《南宮譜》所載「案譜法」兩種譯譜方式呈現。Reference 參考資料:Wolpert, R. F. "A ninth-century Sino-Japanese lute-tutor" Musica Asiatica, 1977 Vol. 1, pp. 111-165何昌林 "天平琵琶譜之考、解、譯" (Hé Chāng-lín "The Research, Interpretation and Translation of the Tempyō Biwa-fu") 《音樂研究》, 1983年 第三期, 36-54頁 (Music Research, 1983 Issue 3, pp. 36-54)陳應時，《敦煌樂譜解譯辨正》 (Dūnhuáng Yuèpǔ Jiěyì Biànzhèng; Interpretation and Rectification of the Dunhuang Music Score, by Chén Yìng-shí) 上海音樂學院出版社 (Shanghai Conservatory of Music Press) 2005.6 ISBN 7-80692-147-8
【敦煌琵琶譜】第十曲 又慢曲子 [Dunhuang Pipa Score] No. 10 Another Song in Slow Tempo 古樂尋蹤_HGofACH 2022-11-06 | 0:00 標題及簡介 Title & Introduction0:21 樂曲演奏 Featured Performance2:03 附錄:琵琶獨奏版 Appendix: Pipa solo ver.3:50 片末 End CreditsThe tenth of the 25 compositions in the “Dunhuang Pipa Score” (敦煌琵琶譜; Dūnhuáng Pípá Pǔ) is called Another Song in Slow Tempo (又慢曲子; Yòu Màn-qǔ-zi) - yet another piece bearing the same title as the forth and the eighth in the series. Its melody, rhythm and musical style is quite similar to the latter. The inclusion of “Another” (又; yòu) in its title suggests the consecutive performance of this piece right after A Song in Fast Tempo (急曲子; Jí-qǔ-zi) that preceded it. This video features a version of Another Song in Slow Tempo that was originally deciphered and interpreted by the musicologist Professor Chen Ying-shi (陳應時教授) from his extensive studies of the Dunhuang Pipa Score. Period percussion has been added for accompaniment.《敦煌琵琶譜》所載第十曲為《又慢曲子》，與第四曲及第八曲同名，其旋律、節拍及風格與後者較相近，而曲題中的『又』字可能表示與之前的《急曲子》作順序連奏。 本片所錄《又慢曲子》為音樂學者陳應時教授以其『掣拍說』對《敦煌琵琶譜》作考證後之譯本，綴以杖鼓及鈴鈸作伴奏。Reference 參考資料:陳應時，《敦煌樂譜解譯辨正》 (Dūnhuáng Yuèpǔ Jiěyì Biànzhèng; Interpretation and Correction of the Dunhuang Music Score, by Chen Yingshi) 上海音樂學院出版社 (Shanghai Conservatory of Music Press) 2005.6 ISBN 7-80692-147-8
【敦煌琵琶譜】第九曲 急曲子 [Dunhuang Pipa Score] No. 9 A Song in Fast Tempo 古樂尋蹤_HGofACH 2022-10-29 | 0:00 標題及簡介 Title & Introduction0:21 樂曲演奏 Featured Performance2:09 附錄:琵琶獨奏版 Appendix: Pipa solo ver.4:02 片末 End CreditsThe ninth of the 25 pieces in the collection known as the “Dunhuang Pipa Score” (敦煌琵琶譜) is also called A Song in Fast Tempo (急曲子; Jí Qǔ-zi) and it shares the same title as the sixth. Nevertheless, the two compositins differ quite significantly in style, which indicates its title reflects only the tempo at which the music ought to be performed but not as a reference to any particular piece or musical tradition. This video features a version of A Song in Fast Tempo that was originally deciphered and interpreted by the musicologist Professor Chen Ying-shi (陳應時教授) from his extensive studies of the Dunhuang Pipa Score. Period percussion has been added for accompaniment.《敦煌琵琶譜》所載第九曲亦為《急曲子》，與第六曲同名，但兩者音樂風格有別，故其曲題只為表示以明快的速度演奏此曲，而非專指某樂曲或樂種。 本片所錄《急曲子》為音樂學者陳應時教授以其『掣拍說』對《敦煌琵琶譜》作考證後之譯本，綴以杖鼓及鈴鈸作伴奏。Reference 參考資料:陳應時，《敦煌樂譜解譯辨正》 (Dūnhuáng Yuèpǔ Jiěyì Biànzhèng; Interpretation and Correction of the Dunhuang Music Score, by Chen Yingshi) 上海音樂學院出版社 (Shanghai Conservatory of Music Press) 2005.6 ISBN 7-80692-147-8
【敦煌琵琶譜】第八曲 又慢曲子 [Dunhuang Pipa Score] No. 8 Yet Another Slow Piece* (Another Song in Slow Tempo) 古樂尋蹤_HGofACH 2022-10-20 | 0:00 標題及簡介 Title & Introduction0:21 樂曲演奏 Featured Performance2:02 附錄:琵琶獨奏版 Appendix: Pipa solo ver.3:49 片末 End Credits*Special thanks to Youtube user @Yanchen Zhang for an excellent alternative translation to the title of this piece.The eighth of the 25 compositions compiled in the “Dunhuang Pipa Score” (敦煌琵琶譜; Dūnhuáng Pípá Pǔ) is titled Another Song in Slow Tempo (又慢曲子; Yòu Màn-qǔ-zi) and the second piece bearing the same title after the fourth. Nevertheless, the two Another Songs in Slow Tempo differ significantly in their melodies, rhythm and style. As before, the inclusion of “Another” (又; yòu) in the title likely suggests the consecutive performance of this music with those that preceded it. This video features a version of Another Song in Slow Tempo that was originally deciphered and interpreted by the musicologist Professor Chen Ying-shi (陳應時教授) from his extensive studies of the Dunhuang Pipa Score. Period percussion has been added for accompaniment.《敦煌琵琶譜》所載第八曲為《又慢曲子》，與第四曲同名，但兩者的旋律、節拍及風格上皆相異，而曲題中的『又』字可能表示與之前的樂曲作順序連奏。 本片所錄《又慢曲子》為音樂學者陳應時教授以其『掣拍說』對《敦煌琵琶譜》作考證後之譯本，綴以杖鼓及鈴鈸作伴奏。Reference 參考資料:陳應時，《敦煌樂譜解譯辨正》 (Dūnhuáng Yuèpǔ Jiěyì Biànzhèng; Interpretation and Correction of the Dunhuang Music Score, by Chen Yingshi) 上海音樂學院出版社 (Shanghai Conservatory of Music Press) 2005.6 ISBN 7-80692-147-8
【敦煌琵琶譜】第七曲 又曲子 [Dunhuang Pipa Score] No. 7 Another Song 古樂尋蹤_HGofACH 2022-10-13 | 0:00 標題及簡介 Title & Introduction0:21 樂曲演奏 Featured Performance1:43 附錄:琵琶獨奏版 Appendix: Pipa solo ver.3:09 片末 End CreditsThe seventh of the 25 pieces in the “Dunhuang Pipa Score” (敦煌琵琶譜) is also titled Another Song (又曲子; Yòu Qǔ-zi), sharing the same name as the fifth. Although the two melodies are different, they share a high degree of similarity in style. It is possible that the two Another Songs were composed by the same person or shared the same musical origin. Notably, the use of the word “Another” (又; yòu) in the title probably indicates that this music was intended to be played in sequence with other pieces that preceded it. This video features a version of Another Song that was originally deciphered and interpreted by the musicologist Professor Chen Ying-shi (陳應時教授) from his extensive studies of the Dunhuang Pipa Score.《敦煌琵琶譜》所載第七曲亦為《又曲子》，與第五曲同名，兩者旋律不同，但風格相近，可能出自同一樂人之手，或為同源，而曲題中『又』字可能指示與他曲作連奏。 本片所錄《又曲子》為音樂學者陳應時教授以其『掣拍說』對《敦煌琵琶譜》作考證後之譯本，綴以杖鼓及鈴鈸作伴奏。Reference 參考資料:陳應時，《敦煌樂譜解譯辨正》 (Dūnhuáng Yuèpǔ Jiěyì Biànzhèng; Interpretation and Correction of the Dunhuang Music Score, by Chen Yingshi) 上海音樂學院出版社 (Shanghai Conservatory of Music Press) 2005.6 ISBN 7-80692-147-8
【敦煌琵琶譜】第六曲 急曲子 [Dunhuang Pipa Score] No. 6 A Song in Fast Tempo 古樂尋蹤_HGofACH 2022-10-07 | 0:00 標題及簡介 Title & Introduction0:21 樂曲演奏 Featured Performance1:40 附錄:琵琶獨奏版 Appendix: Pipa solo ver.3:04 片末 End CreditsA Song in Fast Tempo (急曲子; Jí Qǔ-zi) is the sixth of 25 compositions written for the Táng-period pipa in a collection now known as the “Dunhuang Pipa Score” (敦煌琵琶譜). Notably, this and 8 other pieces in the collection bear no thematic titles (not counting the 2 pieces with titles lost). As clearly indicated in the title, this piece was intended to be performed in a relatively fast tempo. This video features a version of A Song in Fast Tempo that was originally deciphered and interpreted by the musicologist Professor Chen Ying-shi (陳應時教授) from his extensive studies of the Dunhuang Pipa Score. Period percussion has been added for accompaniment.《急曲子》為《敦煌琵琶譜》所載第六曲，與另外八首樂曲皆没有特定曲題（不計兩首佚名曲）。『急』表示此樂曲應以相對明快的速度演奏。 本片所錄《急曲子》為音樂學者陳應時教授以其『掣拍說』對《敦煌琵琶譜》作考證後之譯本，綴以杖鼓及鈴鈸作伴奏。Reference 參考資料:陳應時，《敦煌樂譜解譯辨正》 (Dūnhuáng Yuèpǔ Jiěyì Biànzhèng; Interpretation and Correction of the Dunhuang Music Score, by Chen Yingshi) 上海音樂學院出版社 (Shanghai Conservatory of Music Press) 2005.6 ISBN 7-80692-147-8
【復原唐樂合奏】黃麞 [Reconstructed Tang-period Ensemble Music] Water Deer 古樂尋蹤_HGofACH 2022-09-24 | 0:00 標題 Title0:06 樂譜復原概要 Summary of the Restoration Process-- 復原樂曲演奏 Featured Performance0:51 破一帖 (至七帖) Broaching 1 (up to 7)3:14 破二帖 (或八帖) Broaching 2 (or 8)4:19 破三帖 (或九帖) Broaching 3 (or 9)5:25 急 Fast7:41 片末 End CreditsWater Deer (黃麞 or 皇麞; Huáng Zhāng; also translated as "Yellow Roe") was a Táng-period composition for accompanying the "strong dance" (健舞; jiàn-wǔ) sharing the same title. "Strong dances" were characterized by rigorous, martial movements and their relatively fast tempo, in contrast to the more elegant and feminine "soft dances" (軟舞; ruǎn-wǔ). This piece was composed during the reign of Empress Wǔ Zé-tiān (武則天) to commemorate the heroism and loyalty of the soldiers who died in the "Battle of the Water Deer Valley" (黃麞谷之戰; Huáng-zhāng-gǔ-zhī-zhàn) as the imperial army was ambushed and suffered a crushing defeat in suppressing a rebellion by the Khitans (契丹) in 696 AD. Curiously, according to historical records, the melody of Water Deer was based on a ballad called "Song of the Water Deer" (黃麞歌; Huáng-zhāng-gē) whose lyrics was believed to have fortold the defeat of the imperial army. As a "strong dance", the martial nature of its choreography and military theme made Water Deer a favourite among the warrior class. For example, the Old Book of Tang (舊唐書; Jiù Táng Shū) accounted for a performance of this dance by the General of the Left Imperial Guard, Zhāng Qià (左衛將軍張洽; Zuǒ-wèi-jiāng-jūn Zhāng Qià) at a court banquet during the reign of Emperor Zhōng-zōng (唐中宗; Táng Zhōng-zōng). Multiple surviving scores of Water Deer, keyed in Dorian mode on E (平調; píng diào) have been found in various collections of Táng-period music that cover all the major instruments: transverse flute (橫笛; héng-dí); shēng (笙); bìlì (篳篥); zhēng (箏); pípá (琵琶); and percussion. Among these, the pípá score found in the Biwa-shochouchi-fu (琵琶諸調子譜) - part of the Nangu Biwa-fu (南宮琵琶譜) - is perhaps the oldest version of this piece known to date. The original score was consisted of the following: one "free sound (i.e. free-tempo)" section (遊聲; yóu-shēng); one prelude (序; xù); three "broaching" sections (破; pò); and one "fast" section (急; jí). Both the "free sound" section and prelude were lost by the 9th century, leaving only the "broaching" and "fast" sections. This video features a reconstruction of Water Deer based on the pípá score found in the Biwa-shochouchi-fu, followed by a full-ensemble realization after consulting the scores notated for the other major instruments with all necessary adjustments.《黃麞》（又作《皇麞》）為唐代舞樂，用作同名『健舞』（指舞姿雄健、節奏明快的舞蹈）的伴樂。武周萬歲通天元年(696年)，契丹發生饑荒，契丹松漠都督李盡忠借機起兵叛變。武則天旋即命曹仁師、王孝傑等將領率兵討伐，惟於黃麞谷(今河北省遷安市東北西硤石谷內)誤中契丹兵伏擊致大敗，史稱『黃麞谷之戰』。朝廷為頌揚戰歿將士之忠勇，以當時被視為曾預兆敗戰的民謠『黃麞歌』入樂編舞，製成舞樂《黃麞》，因其舞姿剛健而為武將所好，如唐中宗時的左衛將軍張洽即曾於御宴上表演《黃麞》舞(《舊唐書》卷一百八十九下)。 現存《黃麞》樂譜見於多本唐樂譜集，橫笛譜、笙譜、篳篥譜、筝譜、琵琶譜、鼓譜等皆全，以載於《琵琶諸調子譜》(屬《南宮琵琶譜》一部分)的版本為已公開的樂譜中最古老。《黃麞》為平調（林鐘羽)，本有『遊聲』一帖、『序』一帖、『破』三帖及『急』一帖，『遊聲』和『序』在平安中期時(公元900年以降)已失傳，僅餘『破』和『急』流傳至今。本片所錄為《琵琶諸調子譜》所載的《黃麞》復原琵琶譜，再參考其他《黃麞》器樂譜以重構樂曲全貌。
【復原唐樂合奏】大酺樂 [Reconstructed Tang-period Ensemble Music] Music of the Dà-pú Feast 古樂尋蹤_HGofACH 2022-08-29 | 0:00 標題 Title0:06 樂譜復原概要 Summary of the Restoration Process-- 復原樂曲演奏 Featured Performance0:58 序 Prelude2:44 破一帖 Broaching 13:38 破二帖[換頭] Broaching 2 [Change Beginning]4:34 附錄 Appendix4:40 序(譜二) Prelude (Score 2)6:28 破一帖(譜二) Broaching 1 (Score 2)7:23 破二帖[換頭](譜二) Broaching 2 [Change Beginning] (Score 2)8:18 片末 End CreditsMusic of the Dà-pú Feast (大酺樂; Dà Pú Yuè) was one of many Táng-period compositions intended for use in banquets. The term "Dà-pú" (大酺) refers to a grand feast lasting 3 or 5 days specially granted by the emperor to the general public for celebrating various joyous occasions. Based on the Records of the Grand Historian (史記; Shǐ-jì), the earliest Dà-pú feasts can be traced back to the Warring States (戰國; Zhàn-guó) period, with multiple references of the feast also being held throughout the Qín (秦) and Hàn (漢) dynasties and the Three Kingdoms (三國; Sān-guó) period. During the prosperous Táng dynasty, many Dà-pú feasts were held, particularly during the reign of Emperor Xuánzōng (唐玄宗). Music of the Dà-pú Feast was likely composed for one such festivity. The compilation of Táng-period music known as the Kagakuifu (歌樂維譜) contains two scores of Music of the Dà-pú Feast (the titles of both misinterpreted "酺 (pú)" as "補 (bǔ)") that were set in Mixolydian mode on E (大食調; Dà-shí diào). Both were written in the Táng-period transverse flute notation and consist of a prelude (序; xù) and two broaching sections (破; pò). Both scores contain nearly identical note symbols, but only one of them carries rhythmic markings. This video features reconstructions of this piece for the full Táng-period ensemble based on the two scores.《大酺樂》為唐代燕樂。『大酺』為帝王以喜慶事宜為由而特準民間舉行的大型飲宴，以示『與民同樂』。據《史記》記載，『大酺』源自戰國時期：「趙武靈王滅中山，酺五日，是其所起遠也。」，其後之秦朝、漢朝及三國時代亦有舉行。唐朝時，國力強盛，物阜民豐，『大酺』時有舉行，尤以玄宗時為甚，《大酺樂》應是在這時期所創作。 現存唐樂譜集《歌樂維譜》中載有橫笛譜《大酺樂》兩首（曲題將『酺』誤作『補』），均為大食調（太簇商），各有序一帖及破兩帖，兩譜譜字幾乎完全相同，但其中一譜缺劃拍。現在先對有劃拍譜本作譯析，再補上其他樂器以重構樂曲全貌，進而再為欠劃拍譜本作同樣復原。
【敦煌琵琶譜】第五曲 又曲子 [Dunhuang Pipa Score] No. 5 Another Song 古樂尋蹤_HGofACH 2022-08-06 | 0:00 標題及簡介 Title & Introduction0:21 樂曲演奏 Featured Performance1:22 附錄:琵琶獨奏版 Appendix: Pipa solo ver.2:28 片末 End CreditsAnother Song (又曲子; Yòu Qǔ-zi) is the fifth of 25 compositions written for the Táng-period pipa in a collection now known as the “Dunhuang Pipa Score” (敦煌琵琶譜). Notably, this and 8 other pieces in the collection bear no thematic titles (not counting the 2 pieces with titles lost). Notably, the use of the word “Another” (又; yòu) in the title probably means that this piece was intended to be played in sequence with Music of the Tilted Cup (傾盃樂; Qīng-bēi Yuè) and Another Song in Slow Tempo (又慢曲子; Yòu Màn-qǔ-zi) that preceed it. This video features a version of Another Song that was originally deciphered and interpreted by the musicologist Professor Chen Ying-shi (陳應時教授) from his extensive studies of the Dunhuang Pipa Score.《又曲子》為《敦煌琵琶譜》所載第五曲，與另外八首樂曲皆没有特定曲題（不計兩首佚名曲）。其『又』字或表示與之前的《傾盃樂》及《又慢曲子》作順序連奏。 本片所錄《又曲子》為音樂學者陳應時教授以其『掣拍說』對《敦煌琵琶譜》作考證後之譯本，綴以杖鼓及鈴鈸作伴奏。Reference 參考資料:陳應時，《敦煌樂譜解譯辨正》 (Dūnhuáng Yuèpǔ Jiěyì Biànzhèng; Interpretation and Correction of the Dunhuang Music Score, by Chen Yingshi) 上海音樂學院出版社 (Shanghai Conservatory of Music Press) 2005.6 ISBN 7-80692-147-8
【敦煌琵琶譜】第四曲 又慢曲子 [Dunhuang Pipa Score] No. 4 Yet Another Slow Piece* (Another Song in Slow Tempo) 古樂尋蹤_HGofACH 2022-07-31 | 0:00 標題及簡介 Title & Introduction0:21 樂曲演奏 Featured Performance2:14 附錄:琵琶獨奏版 Appendix: Pipa solo ver.4:12 片末 End Credits*Special thanks to Youtube user @Yanchen Zhang for an excellent alternative translation to the title of this piece.Another Song in Slow Tempo (又慢曲子; Yòu Màn-qǔ-zi) is the fourth of 25 compositions written for the Táng-period pipa that are compiled in what is now collectively known as the “Dunhuang Pipa Score” (敦煌琵琶譜; Dūnhuáng Pípá Pǔ). Notably, this and 8 other pieces in the collection bear no thematic titles (not counting the 2 pieces with titles lost). Instead, they were generically named as “songs” (曲子; qǔ-zi) and their relative tempo specified as “slow” (慢; màn) or “fast” (急; jí). The use of “Another” (又; yòu) likely indicates the pieces were meant to be played consecutively and/or in sequence. This video features a version of Another Song in Slow Tempo that was originally deciphered and interpreted by the musicologist Professor Chen Ying-shi (陳應時教授) from his extensive studies of the Dunhuang Pipa Score.《又慢曲子》為《敦煌琵琶譜》所載第四曲，與另外八首樂曲皆没有特定曲題（不計兩首佚名曲），僅以『慢』或『急』說明速度，及以『又』表示各曲之間可能的順序或連奏關聯，此標題法為《敦煌琵琶譜》所獨有。 本片所錄《又慢曲子》為音樂學者陳應時教授以其『掣拍說』對《敦煌琵琶譜》作考證後之譯本，綴以杖鼓及鈴鈸作伴奏。Reference 參考資料:陳應時，《敦煌樂譜解譯辨正》 (Dūnhuáng Yuèpǔ Jiěyì Biànzhèng; Interpretation and Correction of the Dunhuang Music Score, by Chen Yingshi) 上海音樂學院出版社 (Shanghai Conservatory of Music Press) 2005.6 ISBN 7-80692-147-8
【敦煌琵琶譜】第三曲 傾盃樂 [Dunhuang Pipa Score] No. 3 Music of the Tilted Wine Cup 古樂尋蹤_HGofACH 2022-07-27 | 0:00 標題及簡介 Title & Introduction0:21 樂曲演奏 Featured Performance1:31 附錄:琵琶獨奏版 Appendix: Pipa solo ver.2:46 片末 End CreditsMusic of the Tilted Cup (傾盃樂; Qīng-bēi Yuè) was a Táng-period banquet music originated from a drinking song of the North & South Dynasties Period (南北朝; Nán-běi-cháo). By the early Táng Dynasty, it was rearranged and expanded in scale as a dà-qū (大曲). During the reign of Emperor Xuán-zōng (玄宗), this piece was used to accompany horse dances. Later, Emperor Xuān-zōng (宣宗) composed the New Music of the Tilted Cup (新傾盃樂; Xīn Qīng-bēi Yuè) for the bìlì (篳篥). By the early Sòng Dynasty (宋朝), there were already 28 different versions of Music of the Tilted Cup. The Music of the Tilted Cup featured in this video was deciphered and interpreted by the musicologist Professor Chen Ying-shi (陳應時教授) from his extensive studies of the Dunhuang Pipa Score (敦煌琵琶譜; Dūnhuáng Pípá Pǔ). For this rendition, period percussion has been added for accompaniment.《傾盃樂》為唐代燕樂，源自南北朝時期之勸酒詞曲，至唐初改編成大曲，以太簇商、中呂商或黃鐘商為宫調，唐玄宗用之作馬舞伴樂。唐宣宗時又創《新傾盃樂》，以篳篥吹奏。至宋初時，《傾盃樂》已有二十八個不同版本。 本片所錄《傾盃樂》為音樂學者陳應時教授以其『掣拍說』對《敦煌琵琶譜》作考證後之譯本，綴以杖鼓及鈴鈸作伴奏。Reference 參考資料:陳應時，《敦煌樂譜解譯辨正》 (Dūnhuáng Yuèpǔ Jiěyì Biànzhèng; Interpretation and Correction of the Dunhuang Music Score, by Chen Yingshi) 上海音樂學院出版社 (Shanghai Conservatory of Music Press) 2005.6 ISBN 7-80692-147-8陳應時，敦煌樂譜同名曲《傾盃樂》的旋律重合 (Dūnhuáng Yuèpǔ Tóng Míngqǔ “Qīng-bēi Yuè” De Xuánlǜ Chónghé; Coinciding Melodies of “Qīng-bēi Yuè”: Two Melodies of the Same Title in the Dunhuang Music Score, by Chen Yingshi) 音樂藝術(上海音樂學院學報) 2005年第4期 (Yīnyuè Yìshù [Shanghai Conservatory of Music Newspaper] 2005 4th Issue) 1000-4270(2005)04-0089-05
【復原唐樂合奏】大寶樂 [Reconstructed Tang-period Ensemble Music] Music of the Grand Treasure 古樂尋蹤_HGofACH 2022-07-22 | 0:00 標題 Title0:06 樂譜復原概要 Summary of the Restoration Process0:57 復原樂曲演奏 Featured Performance2:47 片末 End CreditsMusic of the Grand Treasure (大寶樂; Dà Bǎo Yuè), also known as Grand Treasure of Heaven and Earth (天地大寶; Tiān Dì Dà Bǎo) or simply Grand Treasure (大寶; Dà Bǎo) was a Táng-period Dà-qū (大曲) - a large-scale, multi-sectional composition with a specific structure combining instrumental and vocal music as well as dance. The term "Dà Bǎo" originates from the Book of Changes (周易; Zhōu-yì) which states "The grand attribute of Heaven and Earth is the birthing and nuturing of life, while the grand treasure (Dà Bǎo) of a sage (refers to the ruler / emperor) is achieving the highest position possible (i.e. the throne)" (天地之大德曰生，聖人之大寶曰位。). It was also a part of the regnal name adopted by Emperor Xuánzōng of the Táng Dynasty (唐玄宗) in 749 A.D. It was likely that Music of the Grand Treasure was composed in commemoration of that occasion. The compilation of Táng-period music known as the Kagakuifu (歌樂維譜) contains two scores of Music of the Grand Treasure set in Mixolydian mode on E (大食調; Dà-shí diào). Both were written in the Táng-period transverse flute notation but consist only of a single section, which is likely just a segment of the original. One of these scores carries only note symbols but lack rhythmic markings while the other carries both. This video features a reconstruction of this piece for the full Táng-period ensemble based on the latter score.《大寶樂》為唐代大曲，又名《天地大寶》或《大寶》。『大寶』一詞出自《周易·繫辭傳》其中一句：『天地之大德曰生，聖人之大寶曰位。』。『天地大寶』亦為唐玄宗於天寶八載所加尊號『開元天地大寶聖文神武應道皇帝』之其中一部分，故《大寶樂》可能是為此而作。 《歌樂維譜》載有兩本《大寶樂》橫笛譜，為大食調（太簇商），但樂曲皆只有一段，應為原大曲之摘遍。兩譜譜字幾乎完全相同，但其中一譜缺劃拍。現在對有劃拍譜本作譯析，再補上其他樂器以重構樂曲全貌。
【敦煌琵琶譜】第二曲 (品)弄 [Dunhuang Pipa Score] No. 2 (Pǐn) Nòng 古樂尋蹤_HGofACH 2022-07-10 | Among the 25 compositions compiled in the “Dunhuang Pipa Score” (敦煌琵琶譜), the title of the second piece had largely faded due to the passage of time and today only the last character “Nòng” (弄) remains legible. Among the many hypotheses by modern musicologists regarding the original title, Professor Chen Ying-shi (陳應時教授) proposed that it should also be Pǐn Nòng (品弄) - the same as the first piece in the collection, given that the last part of the second piece is almost identical to the first and thus can be regarded as a more complete version of Pǐn Nòng. The music featured in this video was originally deciphered and interpreted by the musicologist Professor Chen from his extensive studies of the Dunhuang Pipa Score.《敦煌琵琶譜》所載第二曲，因年代久遠致原譜所示曲名已褪色，只剩一『弄』字。現代學者對此有多種說法。其中，陳應時教授認為因此曲尾段與第一曲《品弄》幾乎原全相同，可視為一較原整的《品弄》，故應同名。 本片所錄為陳氏以其『掣拍說』對《敦煌琵琶譜》作考證後之譯本。Reference 參考資料:陳應時，《敦煌樂譜解譯辨正》 (Dūnhuáng Yuèpǔ Jiěyì Biànzhèng; Interpretation and Correction of the Dunhuang Music Score, by Chen Yingshi) 上海音樂學院出版社 (Shanghai Conservatory of Music Press) 2005.6 ISBN 7-80692-147-8陳應時，敦煌樂譜《品弄》 (Dūnhuáng Yuèpǔ "Pǐn Nòng"; The Dunhuang Music Score "Pǐn Nòng") 黃鐘（武漢音樂學院報）1995年第3期 (Huang Zhong [Wuhan Conservatory of Music Newspaper] 1995 3rd Issue) DOI:10.19706/j.cnki.cn42-1062/j.1995.03.002
【敦煌琵琶譜】第一曲 品弄 [Dunhuang Pipa Score] No. 1 Pǐn Nòng 古樂尋蹤_HGofACH 2022-07-09 | Pǐn Nòng (品弄) is the first of 25 compositions written for the Táng-period pipa that are compiled in what is now collectively known as the “Dunhuang Pipa Score” (敦煌琵琶譜). The title may refer specifically to “performing a diào-zi-pǐn (調子品)” which is a type of small-scale instrumental solo pieces during the Táng period. It may also be a general reference to “instrumental music”, as both “Pǐn” and “Nòng” mean the playing of musical instruments. This video features a version of Pǐn Nòng that was originally deciphered and interpreted by the musicologist Professor Chen Ying-shi (陳應時教授) from his extensive studies of the Dunhuang Pipa Score.《品弄》為《敦煌琵琶譜》所載第一曲。論其曲名，『品』狹義指『調子品』，為唐代一種小型器樂獨奏，而廣義則指『彈奏樂器』（如『品弦』），同樣，『弄』之意思為『樂器演奏』，但通常專指吹管樂（如『弄簫』）。 本片所錄《品弄》為音樂學者陳應時教授以其『掣拍說』對《敦煌琵琶譜》作考證後之譯本。Reference 參考資料:陳應時，《敦煌樂譜解譯辨正》 (Dūnhuáng Yuèpǔ Jiěyì Biànzhèng; Interpretation and Correction of the Dunhuang Music Score, by Chen Yingshi) 上海音樂學院出版社 (Shanghai Conservatory of Music Press) 2005.6 ISBN 7-80692-147-8陳應時，敦煌樂譜《品弄》 (Dūnhuáng Yuèpǔ "Pǐn Nòng"; The Dunhuang Music Score "Pǐn Nòng") 黃鐘（武漢音樂學院報）1995年第3期 (Huang Zhong [Wuhan Conservatory of Music Newspaper] 1995 3rd Issue) DOI:10.19706/j.cnki.cn42-1062/j.1995.03.002
【復原唐樂合奏】醉公子 [Reconstructed Tang-period Ensemble Music] The Drunken Nobleman 古樂尋蹤_HGofACH 2022-06-11 | 0:00 標題 Title0:06 樂譜復原概要 Summary of the Restoration Process0:36 復原樂曲演奏 Featured Performance2:17 片末 End Credits"The Drunken Nobleman" (醉公子) was part of the repertoire of Jiào-fāng (教坊), an official music institute serving the Táng court. It was also used often for lyrics-setting. Although Chinese historical sources bear few descriptions of "The Drunken Nobleman", the Japanese treatise on court music and dance, Kyoukunshou (教訓抄), mentions a composition introduced from Táng China known as "The Drunken Barbarian" (酒胡子), alternatively known as "The Drunken Nobleman" that was played during royal banquets. The only known surviving score of "The Drunken Nobleman" was written for the Táng-period transverse flute and is found in the Kagakuifu (歌樂維譜). In contrast, there are many surviving scores of "The Drunken Barbarian" that were written for various instruments. From these, we can determine that "The Drunken Nobleman" flute score was written in Dà-shí diào (大食調; Mixolydian mode on E). The entire composition has also been reconstructed using the various scores of "The Drunken Barbarian" as templates.《醉公子》為唐代教坊樂曲，亦用作詞牌。華夏文獻對此樂曲本身没有太多着墨，故其宫調或旋律等皆不詳。但據日本三樂書之一《教訓抄》所記載，日本唐樂中有一越調曲(黃鐘商)名曰《酒胡子》，別名即為《醉公子》，為唐人飲宴時所奏。 現存《醉公子》樂譜有《歌樂維譜》所錄一橫笛譜，而《酒胡子》則有橫笛譜、笙譜、篳篥譜、箏譜及琵琶譜多種。從譜字分析及與《酒胡子》樂譜比較，可確定《醉公子》為大食調曲(太簇商)，與《酒胡子》調式相同。現根據《醉公子》橫笛譜及《酒胡子》諸樂譜為《醉公子》全曲進行復原。
【唐五弦琵琶】移都師 [Music for Tang-period 5-string pipa] Relocation of the Capital 古樂尋蹤_HGofACH 2022-05-22 | 0:00 標題及簡介 Title & Introduction0:12 第一段 Section 10:57 第二段 Section 21:38 第三段 Section 32:12 第四段 Section 42:49 第五段 Section 53:24 第六段 Section 63:55 第七段 Section 74:27 第八段 Section 84:59 第九段 Section 95:32 第十段 Section 106:02 第十一段 Section 116:34 第十二段 Section 126:59 第十三段 Section 137:34 片末 End CreditsRelocation of the Capital (移都師) was one of many pieces known collectively as “banquet music” (燕樂; performed only for entertainment in court and not for ceremonies) during the Táng dynasty (唐朝; 618-907 A.D.). According to the Book of Music (樂書), this piece was usually played immediately after the dance music Phoenix (火鳳), serving to contrast and thus changing the mood of the performance. According to the Táng Huì-yào (唐會要), there were three versions of Relocation of the Capital set in the key of Bān-shè diào (般涉調), Píng diào (平調) and Huáng-zhōng diào (黃鐘調) (Dorian mode on B, E and A, respectively). In 754 A.D., the title was changed to The Great Sagely Capital (大仙都; pronounced “Dà-xiān-dū”, similar to 大遷都 or “Dà-qiān-dū” meaning “the grand move of the capital”). The sole surviving score of Relocation of the Capital is found in the Gogen-kinpu (五絃琴譜). The entire piece is divided into 13 sections. Its key signature is clearly marked beneath the title as Píng diào (平調), which matches the description of the Táng Huì-yào.《移都師》為唐代燕樂，《樂書》描述此曲為舞樂《火鳳》之『解曲』（在主樂曲後加奏之附屬曲，節拍通常較明快），共三個版本，其宫調依《唐會要》所記載分別為太簇羽（般涉調）、林鐘羽（平調）及黃鐘羽（黃鐘調），而曲名於天寶十三載改作《大仙都》（『仙』與『遷』音近，即『大遷都』是也）。 現存《移都師》樂譜僅有《五絃琴譜》所錄一例，共十三段，為平調，與《唐會要》所述之其一相合。
![【復原唐樂合奏】曹婆 [Reconstructed Tang-period Ensemble Music] Cáo Pó](https://i.ytimg.com/vi/CfF2PNBzlnE/maxresdefault.jpg)