音の傳承 : 唐代における樂譜と樂人

Abstract

This article discusses musical circumstances under which Ci-poetry was written since Mid-Tang 中唐. Special attention is paid to the musical scores used to record imperial music of the Xuan-zong 玄宗 period and to the musicians who served to preserve and instruct music for generations to come. Although focus is not placed on the origins of musical scores, given that several musical scores were found in the Xuan-zong period, I propose that documentation of music became necessary in instructing and transmitting music to the thousands of court musicians. When much of the court's music was destroyed during the An Lu-shan Rebellion, the musicians were scattered to regional provinces where they proceeded to contribute towards the development of musical culture through the use of musical scores. The way of teaching music by musical scores was thus established, resulting in the preservation and spread of court music of the Xuan-zong period. In the De-zong 德宗 period, one governor presented the emperor with music which praised the court by use of musical scores. In another case, musical scores were mailed from one province to another. The wide-spread use of musical scores inspired poets Bai Ju-yi 白居易 and Liu Yu-xi 劉禹錫 of the Mid Tang period, who began to enjoy writing ci-poetry. This method of documentation of music by musical scores allowed for easy alterations in tone and rhythm and has since thus aided in the wide distribution and transmittance of music.