著者

小板橋 又久

出版者

一般社団法人 日本オリエント学会

雑誌

オリエント (ISSN:00305219)

巻号頁・発行日

vol.39, no.2, pp.16-32, 1996 (Released:2010-03-12)

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This paper deals with RS 15. 30+15. 49+17. 389 (H. 6) excavated in Ras Shamra, from a cultural historical point of view.We can see that the Hurrianized Akkadian terms, together with the numerals of H. 6 are related to a type of musical instruction. We know many terms for musical instructions in ancient Near Eastern texts for example, in the Convers Tablet and in the headings of the Book of Pslam. We have also identified the cheironomy in the reliefs of ancient Egypt. The musical instruction of H. 6 is very unique, because it is the letter notation which shows how to sing a song in detail. The terms and the writing system of H. 6 indicate that the notation of this text was influenced by Mesopotamian culture. This notation might have been brought from Mesopotamia to Ugarit by the Hurrians. And it is characteristic that this Hurrian system of musical notation was used in the kingdom of Ugarit.We can identify the designation for the genre of the song (nid qabli) in the colophon of the H. 6 text. This term is related to a type of mode. The mode of H. 6 can be interpreted by means of the Babylonian tuning text (U. 7/80). This tuning text may indicate that the ancient Babylonians had a heptatonic system in making use of the fourth and fifth. This heptatonic system of using the fourth and fifth is well known in Greek musical theory. We can see that the nid qabli mode in the H. 6 text is related to the Lydian one. Therefore, the musical life of Ugarit suggests a linkage between Babylonian and Greek musical life.

著者

小板橋 又久

出版者

一般社団法人 日本オリエント学会

雑誌

オリエント (ISSN:00305219)

巻号頁・発行日

vol.55, no.2, pp.53-62, 2013

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The goddess Ashtart is mentioned several times in the Ugaritic texts, but appears relatively rarely in the mythological texts. A. Caquot and M. Sznycer say that at Ugarit, Asthtart was a "colourless deity". On the other side, "the singer of Ashtart" (šr. 'ṯtrt), whom We can find in the administrative text (KTU2 4.168: 4) , is very unique in the ancient Near East. Why does the "colorless deity" in the mythological texts need her professional singer?We can find the entry ritual of Ashtart in several ritual texts (KTU2 1.43: 1-2 ; 1.91: 10; 1.148: 18). The goddess's entry into the royal palace suggests the royal attention paid to her. It appears likely, from a comparison of the Ugaritic texts with the Mari evidence, that the entry ritual of Ashtart is a kind of kispu-festival. We can see that Ashtart is invoked in some incantational texts related to vanquishing venomous serpents (KTU2 1.100; 19b—20a; 1.107; 39b—40a).The Keret epic (KTU2 1.14: III: 41-42 ; VI: 26-28) and a mythical text (KTU2 1.92) show that Ashtart is beautiful but powerful, and she is a good skilled huntress. The Baal myth (KTU2 1.2: IV: 28-30) and a song to Ashtart (RIH 98/02) indicate that Ashtart has the overwhelming power to subdue hostile forces. We can also see that Ashtart is called together with the god Horon in the king Keret's curse (KTU2 1.16: VI: 54-57).Ashtart is the protective goddess to kings of Ugarit, because of her power of breaking enemies. Ashtart is important for the protection of Ugaritic kings against their hostile forces. Because of her physical and magical power, the singer of Ashtart might be necessary for the rituals related to the protection of Ugaritic kings against their enemies and fears.

著者

小板橋 又久

出版者

一般社団法人 日本オリエント学会

雑誌

オリエント (ISSN:00305219)

巻号頁・発行日

vol.32, no.2, pp.30-44, 1989 (Released:2010-03-12)

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We can find in the Old Testament mšrr “singer” and šr “singer” which both derive from the verb šr (*šyr) “to sing”. We can find Mšrr only in Ezra, Nehemiah, and Chronicles. Mšrr occurs several times with the word “Levites”, and denotes a singer which belongs to the temple, especially to the Jersusalem Temple, except in Ezra 2: 65 and Neh. 7: 67, in which case we can't determine the kind of singers. On the other hand šr does not occur in specific materials. From two examples (II Sam. 19: 36; Eccl. 2: 8) which denote the “palace singers” and four examples (I Kings 10: 12; II Chron. 9: 11; II Chron. 35: 25; Ps. 68: 26) where we can't determine the kind of singers, we conclude that šr does not mean the specific type of singer but referes to a singer in general.Why does the term mšrr occur only in the so-called Chronicler? Ezra, Nehemiah and Chronicles stress that there was one form in the songs and instrumental music dedicated to Yahweh which were performed in the Jerusalem Temple based on the true faith in Yahweh. The group that proclaimed that the traditional form was very important might use the term mšrr and distinguish it from the other terms which refer to the singers not based on the traditional form from their point of view.

著者

小板橋 又久

出版者

一般社団法人 日本オリエント学会

雑誌

オリエント (ISSN:00305219)

巻号頁・発行日

vol.55, no.2, pp.53-62, 2013-03-31 (Released:2016-04-26)

参考文献数

51

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The goddess Ashtart is mentioned several times in the Ugaritic texts, but appears relatively rarely in the mythological texts. A. Caquot and M. Sznycer say that at Ugarit, Asthtart was a “colourless deity”. On the other side, “the singer of Ashtart” (šr. ‘ṯtrt), whom We can find in the administrative text (KTU2 4.168: 4) , is very unique in the ancient Near East. Why does the “colorless deity” in the mythological texts need her professional singer?We can find the entry ritual of Ashtart in several ritual texts (KTU2 1.43: 1-2 ; 1.91: 10; 1.148: 18). The goddess’s entry into the royal palace suggests the royal attention paid to her. It appears likely, from a comparison of the Ugaritic texts with the Mari evidence, that the entry ritual of Ashtart is a kind of kispu-festival. We can see that Ashtart is invoked in some incantational texts related to vanquishing venomous serpents (KTU2 1.100; 19b—20a; 1.107; 39b—40a).The Keret epic (KTU2 1.14: III: 41-42 ; VI: 26-28) and a mythical text (KTU2 1.92) show that Ashtart is beautiful but powerful, and she is a good skilled huntress. The Baal myth (KTU2 1.2: IV: 28-30) and a song to Ashtart (RIH 98/02) indicate that Ashtart has the overwhelming power to subdue hostile forces. We can also see that Ashtart is called together with the god Horon in the king Keret’s curse (KTU2 1.16: VI: 54-57).Ashtart is the protective goddess to kings of Ugarit, because of her power of breaking enemies. Ashtart is important for the protection of Ugaritic kings against their hostile forces. Because of her physical and magical power, the singer of Ashtart might be necessary for the rituals related to the protection of Ugaritic kings against their enemies and fears.

著者

小板橋 又久

出版者

一般社団法人 日本オリエント学会

雑誌

オリエント (ISSN:00305219)

巻号頁・発行日

vol.32, no.1, pp.93-107, 1989-09-30 (Released:2010-03-12)

著者

小板橋 又久

出版者

The Society for Near Eastern Studies in Japan

雑誌

オリエント (ISSN:00305219)

巻号頁・発行日

vol.26, no.2, pp.45-60, 1983

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The verb <i>šr</i> (*šyr) is the major term which denotes "to sing" in Ugaritic. This term occurs several times in the alphabetic texts of Ugarit. To describe the singing as reflected in those Ugaritic texts is my purpose. This paper deals with <i>KTU</i> 1.23, 1.16, and 1.112.<br>Here are the problems. In which scenes do these singings appear? Is there any similarity among those singings? What can we conclude about musical life from examining those Ugaritic texts?<br>Our conclusions are as follows. <i>KTU</i> 1.23: 12 seems to be a rubric in a ritual drama which states that something is to be recited 7 times and the '<i>rbm</i>, who is a kind of personnel in cultic ritual, is to respond. In <i>KTU</i> 1.106: 15-17, after the sacrifices are dedicated to the various gods, the singer (<i>šr</i>) sings 10 times in front of the king and then the king opens his hand. In <i>KTU</i> 1.112: 17-21, on the 14th day of a fixed month, when the <i>gtrm</i> gods go down to the sacrifices, the <i>gtrm</i> respond to somebody and then the <i>qdš</i> priest sings a song. The singing of <i>KTU</i> 1.23 occurs in one of the scenes of a ritual drama, and that of <i>KTU</i> 1.106 occurs together with the performance of a prayer which is given in the ritual of a fixed month. The singing of <i>KTU</i> 1.112 may occur in the oracle We can find a few similarities among those singings. Firstly, those singings occur in a cultic ritual. Secondly, those singings are connected with the gods. Thirdly, we may discover here that the meaning of the singing is man's asking favor of the gods. Thus we might conclude that cultic personnel sang a song in the various scenes of the rituals performed in the Ugaritic kingdom for the purpose of asking favor of the gods.