琉球音楽における中国曲調の受容・変化とその法則

抄録

In an earlier article, entitled “A comparative study of Ryukyu and Chinese music, ” I have argued that the instruments, musical notation, and tuning of the sanshin in Ryukyu and Chinese music are closely related. In the following study I have investigated the reception and change of Chinese music transmitted to the Ryukyu Islands.
From analyzing the pieces “Da hua gu, ” “Song wang sheng, ” and “Zhai kong gong” all of which were imported from China, it has become clear that the modes and scales of Chinese and Ryukyu music, though on the surface appearing unrelated, can in fact be restored to a state in which they are quite similar.
By reducing such pieces from their modern form to a hypothetical form and then to their original from, one can see how melodies (modes) gradually changed together with changes in the tunings of the sanshin and suona.
My analyses show certain patterns of music change in Ryukyu music. The Ryukyu people, however, probably responded to Chinese music largely emotionally, and varied this music according to their own needs and sensibilities.