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The Restoration of Traditional Instruments in Xiong Penglai（熊朋來）'s Sepu（瑟譜）
https://doi.org/10.15083/0002008455
https://doi.org/10.15083/0002008455c2b04757-d0b4-4a75-ae17-c255a3913afb
| 名前 / ファイル | ライセンス | アクション |
|---|---|---|
ioc184005.pdf (1.3MB)
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| Item type | 紀要論文 / Departmental Bulletin Paper(1) | |||||||
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| 公開日 | 2024-02-09 | |||||||
| タイトル | ||||||||
| タイトル | The Restoration of Traditional Instruments in Xiong Penglai（熊朋來）'s Sepu（瑟譜） | |||||||
| 言語 | en | |||||||
| 言語 | ||||||||
| 言語 | eng | |||||||
| 資源タイプ | ||||||||
| 資源タイプ識別子 | http://purl.org/coar/resource_type/c_6501 | |||||||
| 資源タイプ | departmental bulletin paper | |||||||
| ID登録 | ||||||||
| ID登録 | 10.15083/0002008455 | |||||||
| ID登録タイプ | JaLC | |||||||
| 著者 |
TANAKA, Yuki
× TANAKA, Yuki
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| 抄録 | ||||||||
| 内容記述タイプ | Abstract | |||||||
| 内容記述 | In early 20th century China, the many musicians and scholars studying Western musical techniques sought to create new music that reflected the original spirit of the Chinese people by researching traditional Chinese music. However, how could they find the original spirit of the Chinese people in this music, especially when most were focused on ancient music, which was not an imitation of traditional music? If restoring traditional instruments was not a true revival of “ancient music,” then how was it possible to revive ancient music? The reviving of “ancient music” did not begin in early 20th century. As this “ancient music” was being lost nearly every Chinese historical period, Chinese scholars and especially Confucians interested in music had been seeking to revive ancient music traditions for more than 2,000 years. Xiong Penglai 熊朋來 （1246-1323）, a Confucian who lived between the end of the Song 宋 dynasty and the beginning of the Yuan 元 dynasty tried to restore the traditional stringed instrument the se 瑟, which was only being played in a few places at that time. As he was a faithful philosopher who followed the teachings of Zhu Xi 朱熹（1130-1200） and did not serve in the Yuan dynasty, were his efforts to revive these traditional instruments merely reactionary? In this paper, Xiong Penglai's philosophy of the se and his ancient music ideals are examined to elucidate his philosophy in the Yuan dynasty. Xiong Penglai chose the se that were not popular at the time he was writing from the many instruments described in ancient books. He thought the importance of the se lay in its compatibility with a human song; that is, for Xiong Penglai, the se was very important because it was the only instrument played to accompany songs. He believed that the revival of ancient music was dependent on the recovery of poetic music, which in turn required the revival of the se. |
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| 言語 | en | |||||||
| 書誌情報 |
ja : 東洋文化研究所紀要 en : The memoirs of Institute for Advanced Studies on Asia 巻 184, p. 142(25)-116(51), 発行日 2023-01-31 |
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| ISSN | ||||||||
| 収録物識別子タイプ | PISSN | |||||||
| 収録物識別子 | 05638089 | |||||||
| 書誌レコードID | ||||||||
| 収録物識別子タイプ | NCID | |||||||
| 収録物識別子 | AN00170926 | |||||||
| 出版者 | ||||||||
| 出版者 | 東京大学東洋文化研究所 | |||||||
| 言語 | ja | |||||||
| 出版者 | ||||||||
| 出版者 | Institute for Advanced Studies on Asia, The University of Tokyo | |||||||
| 言語 | en | |||||||
