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.

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This article provides a detailed introduction to the musical materials of Udagawa Yoan (1798-1846) and undertakes an examination of them from the perspective of the introduction and reception of foreign culture. Although Yoan is well known as a scholar of European studies involved in the introduction of chemistry and botany from the West, little work has been done on his written works dealing with music. In this article, an examination of his draft translations that deal with European music, and their Dutch-language originals, has been undertaken, and comparison has also been made to his works that deal with the music of the Chinese Qing (Ch'ing) dynasty. Two of his draft translations of special importance, one entitled Oranda hoyaku: Yogaku nyumon (‘Translation into Japanese from the Dutch: Introduction to European music’) and one comprising sections dealing with music in Oranda shiryaku (‘Record of Dutch matters’), have been reprinted typographically and appended to the article as reference material (see pp 59-71 and 71-77 of the Japanese text).
The major results of this examination can be summarized as follows:
1. In addition to those of Yoan's autograph manuscripts dealing with music that have been mentioned in earlier research, namely Shingaku-ko (‘Examination of the music of the Qing [Ch'ing] dynasty’), Oranda hoyaku: Yogaku nyumon (see above), Taisei gakuritsu-ko (‘Examination of the musical pitches of the Great West’), Gakuritsu kenkyu shiryo (‘Materials for research on musical pitches’), and Teito hiko tozai gakuritsu (‘Secret manuscript on the musical pitches of East and West’), it was ascertained that major accounts dealing with European music can also be found in parts of Oranda shiryaku (see above). In addition, Yoan copied parts of the 16th-century gagaku compendium Taigen-sho, and possessed for reference purposes Onritsu-ron (‘Treatise on musical pitch’) of the Japanese Edo-period Confucian scholar Kondo Seigai. All of Yoan's manuscripts dealing with music are first drafts, and it is clear that he was not a specialist in musical matters. The materials are valuable, however, since there are no other materials from the late Edo period of this scope that are indicative in concrete terms of the various aspects of the contemporary reception of foreign music, especially that of Europe.
2. The musical materials of Yoan dealt with in this article can be broadly divided into three groups: manuscripts dealing with music of Qing (Ch'ing) dynasty China; draft translations dealing with European music; and Japanese materials on musical pitch either copied or used as reference sources.
3. Comparison of the two groups of materials dealing with non-Japanese music has shown that those dealing with the music of China are more practical, reflecting Yoan's contact with actual musical activity, since they include traced diagrams of instruments and a collection of texts with musical notation (a manuscript copy of Seishin gakui compiled by Egawa Ren). In contrast to this, his draft translations dealing with European music center on explanations of instruments and pitch theory, matters that can be argued without reference to actual musical practice.
4. In rendering technical terms used for European music, Yoan limited himself basically to transliteration of the sounds of the words in Japanese, although at the same time contrasting them with the notational signs of Qing (Ch'ing) music and the pitch-names used in gagaku, and making reference to the text Onritsu-ron mentioned above. Although isolated in nature because they deal with Western music, Yoan's draft translations can be viewed as a continuation of the tradition of research on musical pitch as undertaken by the Confucian scholars of Japan's Edo period.
5. The

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