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.