Abstract
A wrong theory has been spread for the origin of HICHIRIKI-fu ever since the late 17th century up to now in Japan. On the other hand, various theories have been made in China for the origin of FU-JI (notes) of KOSHAKU-fu, which is still a mystery. The present study aims at correcting the former thoery as well as giving an explicit explanation for the latter.
The present paper consists of two chapters. Chapter 1 compares “Nakahara rosei sho ⌈_??__??__??__??__??_⌋”, the Japanese old HICHRIKI score and the noting of KOSHAKU-fu, and shows that they share the following characteristics:
-the number of notes (FU-ji)
-the shape of the rhythm-indicating black dots and the white circles
-vertical noting in two lines
-prcsence of similar black dots between lines
Chapter 2 introduces a new theory for the origin of these notes.
“GAKKAROKU ⌈_??__??__??_⌋” says HICHIRIKI SHIKO-fu originates from the Chinese HICHIRIKI-fu (KOSHAKU-fu). A comparison of the notes in HICHIRIKI SHIKO-fu and those in “JINCHIYOROKU ⌈_??__??__??__??_⌋”, “KYOKUNSHO ⌈_??__??__??_⌋”, and a careful examination of notes on the pipes of old sho and u in SHOSOIN, “TENPYO BIWA-fu ⌈_??__??__??__??__??_⌋”, “GOGEN BIWA-fu ⌈_??__??__??__??__??_⌋” “TONKO BIWA-fu ⌈_??__??__??__??__??_⌋”, and “HAKUGATEKI-fu ⌈_??__??__??__??_⌋” showed similarity between the notes of HICHIRIKI SHIKO-fu and those of the Tang music scores mentioned above. Thus, HICHIRIKI SIKO-fu does not derive from the note of KOSHAKU-fu, but those of traditional Tang HICHIRIKI SHIKO-fu, It is apparent that the theory given by Suehisa Abe is wrong by these examples.
On the other hand, there has been some theories on the origin of the notes (FU-JI) in KOSHAKU-fu; the one in “Chugoku ongakushiron-jutsuko ⌈_??__??__??__??__??__??__??__??_⌋”, the other found in “Chugoku ongaku shiten ⌈_??__??__??__??__??__??_⌋” and “Chugoku daihyakka zensho ⌈_??__??__??__??__??__??__??_⌋”, which says KOSHAKU-fu is completed in Ming-Shing era, but it originates back to TOJINDAIKYOKU-fu through ZOKUJI-fu in the Southern Song. This paper gives a new theory, in which the notes (FU-JI) in KOSHAKU-fu is based on HICHIRIKI-fu. The following are the evidene:
1. The number of the notes are the same in these two scores.
2. The shape of the 5 notes out of 10 is common to both.
3. They both had 10 notes in the beginning, but the both reduced to 9 in modern period.
4. Many notes share the same pitch in the both scores.
It is assumed that the notes in KOSHAKU-fu were formed at the end of Tang period, since GODAI poems suggested its origin, and also its description appears for the first time in the Northern Song period.
