著者
山寺 美紀子
出版者
関西大学東西学術研究所
雑誌
関西大学東西学術研究所紀要 = Bulletin of the Institute of Oriental and Occidental Studies, Kansai University (ISSN:02878151)
巻号頁・発行日
no.51, pp.111-143, 2018-04

This paper presents five newly-identified documents on music, written by OGYŪ Sorai (1666-1728). It first introduces two letters from the second month of 1720 (Kyōho 5) responding to questions posed by ARIMA Ujinori (1668-1736), a close confidant of the eighth shōgun of the Edo bakufu, TOKUGAWA Yoshimune. They describe the measurement system used in the Chinese Zhou Dynasty and changes in musical tonal systems and metrological standards over successive periods. This is followed by OGYŪ's notes on his work, Sango Yōryaku-kō (Reflections on Sango Yōryaku; believed to have been written in 1727 [Kyōho 12]) and on the music accompanying it. Sango Yōryaku-kō talks about a manuscript copy of Sango Yōryaku - a collection of musical notations for the Japanese gagaku biwa. The third document discusses historical materials concerning the seven-stringed qin, its strings, tonal system, and modes. The fourth, written in the fifth month of 1727 , discusses a work on music theory formerly held by the Kissui-in monastery. These four manuscripts are contained in historic documents owned by the OGYŪ family. For the purpose of presenting their contents, I have transcribed facsimile copies available in the Masao Maruyama Collection at the library of the Tokyo Women's Christian University. The fifth and final item comprises copies of four letters from OGYŪ which were contained among FUJISAWA Tōgai's manuscript copies in the Hakuen Collection at the Kansai University Library. In my opinion, OGYŪ most likely wrote them in 1725 (Kyōho 10) to the scholar of calendrical calculations, NAKANE Genkei (1662-1733), at around the time that the bakufu ordered OGYŪ to review Zhu Zaiyu's musical treatise, Yuelü quanshu (Complete compendium of music and pitch). From these letters, I have selected the parts concerning music and present them in transcription.
著者
山寺 美紀子
出版者
関西大学東西学術研究所
雑誌
関西大学東西学術研究所紀要 (ISSN:02878151)
巻号頁・発行日
no.49, pp.139-165, 2016-04-01

Fujisawa Togai (1794‒1864) -founder of the Chinese studies academy Hakuen Shoin and responsible for the revival of the Confucian school of Ogyu Sorai-loved the music of the seven-stringed Chinese qin, as Sorai had before him, and was also known during his day as a master of playing the instrument. This paper reports the following research and analysis in an effort to clarify the historical facts surrounding Togai's relationship with the qin. In the first section, there is a brief discussion of the lineage of qin-playing to which Togai belonged, and of Sorai's study of the qin, which probably influenced Togai. The second section traces Togai's connections, through the qin, with contemporaries such as Chokai Setsudo, Abe Kenshu, Sogo Setsudo, Nomura Kosetsu, Kogaku Yushin, and Mega Yusho. The third section uses qin scores and books on the qin in the collection of Hakuen Shoin to specify the pieces that Togai probably studied and played (about thirty in all) and to speculate on what he might have learned from the literature on the qin that he read and consulted (including Ogyu Sorai's writings on the qin). Finally, in the fourth section, Togai's essays, "Kogetsu kinki" and "Kinkai ki", are scrutinized for what they reveal about the events and gatherings related to the qin that Togai engaged in with his teacher and fellow players, giving us a glimpse of Togai's frame of mind and the nature of his friendships mediated through his musical activity.