著者
明土 真也
出版者
日本音楽学会
雑誌
音楽学 (ISSN:00302597)
巻号頁・発行日
vol.59, no.1, pp.1-15, 2013-10-15 (Released:2017-04-03)

This article investigates in detail the pipe lengths and the temperaments of the shakuhachi preserved at the Horyu-ji Temple, as well as those of the eight specimens owned by the Shoso-in Repository, in order to examine their provenance, including the countries of origin. It has thus far widely been understood that the shakuhachi was invented by LU Cai (呂才: circa 600-665) of the Tang (唐) Dynasty. Therefore, the measurement of the instruments of both the Horyu-ji Temple and the Shoso-in was long considered to have been based on Tang-xiao-chi (唐小尺) measurement, even though some of them at the Shoso-in do not match it. Given such discrepancies, I propose, based on the Old Book of Tang (945) and the New Book of Tang (1060), as well as the residual sum of squares of the distinct temperaments, to classify shakuhachi instruments into categories: pre-LU and post-LU. Through this classification it becomes clear that the pre-LU pipes are one chi (尺) and eight cun (寸) long and are unstable in temperaments, while the post-LU ones can vary in length according to the ancient Chinese pitch pipes (twelve size in total) and are stable in temperaments in accordance with the method of sanfen-sunyi (三分損益, a kind of the circle-of-fifths system). This finding also indicates that the shakuhachi preserved at the Horyu-ji Temple was a pre-LU one, whereas the ones at the Shoso-in conformed to post-LU. In addition, I argue, based on my close study of the Book of Sui (656) and of the 95 % confidence interval of the residual error for the theoretical values of the pipe lengths, that it is reasonable to classify the pipe length of the specimens both at the Horyu-ji Temple and the Shoso-in into two measurements, that is, those based on the Tang-xiao-chi and those based on the Wei-chi (魏尺). Since the four shakuhachi instruments given by Uija-wang (義慈王, Uija of Baekje, 599-660) have pipe length in accordance with the Wei-chi, we can say with fair certainty that the Wei-chi was used in Baekje (百済).

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明土真也 2013 法隆寺と正倉院の尺八の音律 https://t.co/Z8GvVg80lL 明土真也 2016 六孔尺八と八十四調の関係 https://t.co/KOsHDBbpZR 明土真也 2011 基本的な統計手法の活用による日本の十二律の推定 - NDL Digital Collections https://t.co/eYjdxWhZWS
正倉院尺八の指孔について、仮ではあるものの名前をつけておきたい。 表孔は下から順に1、2、3、4、5、裏孔は6 また、指使いにも名前をつける。開ける指孔を記す。 管音→〇 1→一 1、2→二 1、2、3→三 1、2、3、4、→四 1、2、3、4、5→五 3、6→六 6→七 https://t.co/Jibl2JQ2t8 ↓
彫石横笛は、牙横笛を除く横笛の音律と概ね一致する。この横笛が奈良時代、ひいては唐代の制に基づくものであることは疑うまでもないだろう。 となると、それと一対となっている彫石尺八も、これに同じく唐代によく用いられた物である可能性が考えられる。 https://t.co/Jibl2JQ2t8 ↓

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