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From the oldest surviving Japanese manuscripts in tablature (ninth-
fourteenth-centuries) the book provides transcripts into
staff-notation of (largely) entertainment-music, played at banquets
at the Chinese Court in the Tang period, borrowed by the Japanese
not later than 841. The music has never been transcribed before and
has not been heard for 800 years or more, so drastically has it
been transformed in Japanese performance. The history of each piece
of music, as given in Chinese and Japanese historical sources, is
investigated. The music itself is subjected to formal analysis,
revealing its structure, its modal dynamics, and the methods of
composition. For much of the music, ballet-scores survive from the
mid-thirteenth century, and it is hoped that these may be
associated fascicles with the music as transcribed in future
fascicles. Fascicle 5 offers one immense suite, the origins of
which lie in sixth-century China: 'The King of the Grave-Mound'
(Ryo-o), together with single-stave versions and analyses of
upwards of twenty items from previous fascicles and a summary essay
restating views on the nature of 'Tang Music' (Togaku).
During the two centuries before 841, the Japanese Court borrowed a
large amount of secular entertainment music from China, chiefly
music of the Sui and Tang Courts. This music, known as 'Tang Music'
is preserved in manuscripts written between the eighth and
thirteenth centuries and to be seen today in the library of the
Imperial Palace in Tokyo and in other Japanese libraries. Fourteen
items, from the second scroll of pieces belonging to the
Ichikotsu-cho mode-key group (Mixolydian on D), are offered in this
fourth fascicle of Music from the Tang Court. With the exception of
two items, each consisting of Prelude and Broaching, all are single
movements. The first piece, in two movements, is overtly linked
with Sogdiana, the Central Asian State which exerted so great an
influence on the entertainment-music of the Tang Court. That some
of the Togaku repertory had its roots in popular music is plainly
shown by the title of this piece: 'Sogdians Drinking Wine'.
During the two centuries before 841, the Japanese Court borrowed a
large amount of secular entertainment music from China, chiefly
music of the Sui and Tang Courts. This music, known as 'Tang Music'
is preserved in manuscripts written between the eighth and
thirteenth centuries and to be seen today in the library of the
Imperial Palace in Tokyo and in other Japanese libraries. With
Fascicle 3 the series will begin publication of smaller suites and
pieces, together representative of the 'middle-sized pieces' and
'small pieces' (chukyoku and shokyoku) of the threefold
classification, in which the daikyoku are the largest suites. O-dai
hajin-raku from a reputedly eleventh-century manuscript: Kaicbu-fu,
in parallel with the conflation discussed in Fascicle 2, together
with single-stave, conflated, justified versions of Toraden and
Shunno-den, and structural analyses of these two suites.
During the two centuries before 841, the Japanese Court borrowed a
large amount of secular entertainment music from China, chiefly
music of the Sui and Tang Courts. This music, known as 'Tang Music'
is preserved in manuscripts written between the eighth and
thirteenth centuries and to be seen today in the library of the
Imperial Palace in Tokyo and in other Japanese libraries. This
second fascicle includes two further suites from the Ichikotsu-cho
mode-key group, namely Toraden, which probably originated in the
early eighth century, and Shunno-den, a ballet-suite believed to
have its source in a late seventh-century piece in imitation of
Cettia diphone cantans - a bush warbler with a nightingale-like
song. In addition, and continuing the study of the first fascicle,
a justified, conflated text of O-dai hajin-raku on a single stave
will be included. In the light of this, a version for performance
can be established.
In this fourth volume of studies in the historical musicology and
organology of Asia, Jonathan Condit completes his survey of Korean
scores in mensural notation, and Roger Blench examines the
morphology and distribution of sub-Saharan musical instruments of
North African, Middle Eastern, and Asian origin.
World Musics in Context is a wide-ranging survey of musics of the
world, in their historical and social contexts, from ancient times
to the present day. Ethnomusicologist Peter Fletcher begins by
describing aspects of musical style and function in relation to the
early developments of civilizations. He then goes on to explore, in
five parts, music of the ancient world, music of Africa and Asia,
European music, North and South American traditions, and music of
the modern world. A compendium of information as well as an
examination of musical causation and function, this book gives a
deeper understanding of the various musical traditions that
contribute to the modern, multicultural environment.
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