 |
|
|
|
|
|
|
The Historical Development of Music Notation for Shomyo(Japanese Buddhist Chant)：Centering on hakase graphs. |
|
|
|
| 著者 |
Arai, Kojun
|
|---|
| 掲載誌 |
Lux oriente: Begegnungen der Kulturen in der Musikforschung -- Festschrift Robert Gunther zum 65 Geburtstag
|
|---|
| 出版年月日 | 1995 |
|---|
| ページ | 1 - 30 |
|---|
| 出版者 | Bosse |
|---|
| 出版地 | Kassel, Germany [卡賽爾, 德國] |
|---|
| 資料の種類 | 期刊論文=Journal Article |
|---|
| 言語 | 英文=English |
|---|
| ノート | 290
|
|---|
| キーワード | Chant;Japan;Shomyo;Hakase notations;Notation and paleography;Hakase;History; 佛教音樂=梵唄=Buddhist Music;Arai, Kojun; |
|---|
| 抄録 | Shomyo，the sacred chant of Japanese Buddhism，is generally notated in hakase，a means of visually indicating melody in a neumatic fashion by means of a combination of straight and curved lines. During the first half of the 11th c.，hakase notation appeared as a type of memorandum. In the first half of the 12th c.，single pieces were transmitted from teacher to student in written form with full hakase notation，and later these materials were compiled into collections of shomyo notations. Hakase notations of the different shomyo schools are classified into three types according to the method by which pitch is indicated. |
|---|
| ヒット数 | 689 |
|---|
| 作成日 | 2001.05.16
|
|---|
|
Chrome, Firefox, Safari(Mac)での検索をお勧めします。ＩＥではこの検索システムを表示できません。
|
