日本近世期における楽律研究 : 『律呂新書』を中心として [全文の要約]

関西大

Suzuki Ranen\u27s Ritsuryo Shinsho Benkai

Suzuki Ranen\u27s "Ritsuryo Shinsho Benkai (律呂新書辨解)" was a book by focusing on \u27ancient style (古義)\u27, and tried to correct problems of "Ritsuryo Shinsho (律呂新書)". The study of "Ritsuryo Shinsho" in Japan was started Nakamura Tekisai, a Neo-Confucianist in early Edo Period. These studies were carried out around Neo-Confucianism，however，Suzuki Ranen was not a Neo-Confucianist，but a Confucian doctor. Thus his study of "Ritsuryo Shinsho" was different from Nakamura Tekisai. This paper focuses on Suzuki Ranen and his disciples, and explain how to form "Ritsuryo Shinsho Benkai". Furthermore, throught he analysis of this book, reveal the difference from Nakamura Tekisai．文部科学省グローバルCOEプログラム 関西大学文化交渉学教育研究拠点東アジアの思想と構

Uchibori Hidenaga’s Study of Ritsuryo Shinsho

This paper focuses on Uchibori Hidenaga’s Ritsuryo Shinsho research. Uchibori Hidenaga, who lived during the latter Edo period, was a Confucianist of Yamazaki Ansai’s Kimon-gaku school. Uchibori’s two representative works on Ritsuryo Shinsho are Ritsuryo Shinsho Shiko and Ritsuryo Shinsho Kai. These writings were not published however, and all that remain are manuscripts. Because of this, his influence on later generations was not as great as Nakamura Tekisai, whose work helped lay the foundation for Ritsuryo Shinsho studies. Uchibori’s research however, has a unique value because he shows a relationship between Ritsuryo Shinsho and Ho tu-Lo Shu （河図　洛書）. As well as focusing on this aspect, this paper will also investigate the differences between the author of Ritsuryo Shinsho, Cai Yuan-ting, and Uchibori Hidenaga. In doing so, I hope to reveal the unique Japanese characteristics of Uchibori’s work.東アジアの思想と構

Nakamura Tekisai and The New Book of Temperament （律呂新書）: A Philological Study of A Revision of the New Book of Temperament （修正律呂新書） and Notes for the New Book of Temperament（筆記律呂新書説）

The New Book of Temperament （律呂新書） was written by Tsai Yuan-ting （蔡元定）, a Neo-Confucianist in Southern Song Dynasty. Related to Neo-Confucianism, this book was widely spread across East Asian regions during the pre-modern age and has been extensively studied since then. After it was brought to Japan, Nakamura Tekisai, a Neo-Confucianist in early Edo Period, authored two monographs, A Revision of the New Book of Temperament（修正律呂新書） and Notes for the New Book of Temperament（筆記律呂新書説）. This thesis is an overview of the basic literature information about the two monographs that had remained unknown, through a philological study, aiming at revealing how Nakamura did some profound research into The New Book of Temperament and exploring the background to how he finally composed his monographs.東アジアの思想と構

日本近世期における楽律研究―『律呂新書』を中心として― [論文要旨及び審査の要旨]

関西大

The Study of Ritsuryo Shinsho in the Hayashi family, with special focus on Hayashi Gaho’s Ritsuryo Shinsho Genkai

Japanese study of Ritsuryo shinsho (C. Lulu xinshu, a Song-dynasty treatise on music) is thought to have developed primarily around the figure of Nakamura Tekisai (1629‒1702), a Kyoto-based Neo-Confucian scholar. Yet when we look at the earliest research on this book, we find that Hayashi Gaho (1618‒1680), second-generation head of the Hayashi family, who served as the chief academician of the Tokugawa shogunate, was aware of Ritsuryo shinsho even before Nakamura, and left us a treatise on it entitled Ritsuryo shinsho genkai (1677). However, this latter work went largely unnoticed at the time and is almost never cited in other early modern works on Ritsuryo shinsho. Thus, Ritsuryo shinsho genkai has been overlooked until now, along with the contribution of the Hayashi family to research on the original text. This paper investigates the research on Ritsuryo shinsho conducted by the Hayashi family, the process of writing Ritsuryo shinsho genkai, and the kinds of music practiced within the Hayashi family, concluding with an elucidation of the purposes for which Ritsuryo shinsho genkai was written, and its value as a treatise in its own right

Zhou Dunyi\u27s Thought on Rites and Music

Zhou Dunyi(1017-1073) is a representative thinker of Northern Song Daoxue and Neo-Confucianism in Song and Ming-times, who is one of the five Confucianists in the Northern Song Dynasty. In general, when understanding Zhou Dunyi\u27s ideas, Zhu Xi\u27s interpretation is often used as a clue. But, Zhu Xi\u27s interpretation does not necessarily faithfully reflect Zhou Dunyi\u27s ideas that can be read from the original text. This is also the case with Zhou Dunyi\u27s understanding of the most characteristic "礼先楽後" and "淡和" in Zhou Dunyi\u27s Rite-Music Thought. However, Zhu Xi’s interpretation of Zhou Dunyi\u27s ideology from a metaphysical point of view can be highly evaluated as a reinforcement of Zhou Dunyi\u27s ideology. Zhu Xi reinforces Zhou Dunyi\u27s ideology, which is why Zhou Dunyi\u27s ideology has gained a pioneering position in Daoxue.陶徳民教授古稀記念

Saito Shinsai’s A Handbook of Pitch

Nakamura Tekisai, a Neo-Confucianist in early Edo Period, was representative of the study of The New Book of Temperament in Japan. However, most of Japanese scholars couldn’t understand his works, and therefore, Saito Shinsai, one of Nakamura’s disciples, wrote A Handbook of Pitch as the introduction of Nakamura’s works. This paper focuses on the acceptance and development of The New Book of Temperament. Through the analysis of A Handbook of Pitch, the differences between Nakamura and Saito could be revealed.東アジアの思想と構

A Study of Ritsuryo Shinsho in the Early Period of the Joseon Dynasty, with Special Focus on The Annals of the Joseon Dynasty

This paper examines the process of reception and dissemination of Lulu xinshu, a Song-dynasty Chinese treatise on musical theory, during the early period of the Joseon Dynasty in Korea, and also looks at the reception and development of houqishu, an ancient method of meteorological divination using tuned pipes. Study of Lulu xinshu in the Joseon Dynasty began during the reign of King Sejong （r. 1418 –50）. Because Lulu xinshu was included in the Xingli daquan（Great Anthology of Nature and Principle）, a great compilation of Neo-Confucian teachings, it was seen from the outset as a Neo-Confucian work and research on it was conducted primarily by Korean Neo-Confucian scholars. Since Lulu xinshu was a work of music theory, it was adopted by King Sejong’s court as the basis for codifying a system of musical temperament,but the driving force behind study and research into Lulu xinshu was nevertheless almost entirely scholar-officials educated in the Neo-Confucian tradition. With regard to houqishu, previous research has suggested that it was gradually eliminated from the process of fabricating the luguan, the set oftwelve pitch-pipes used for tuning in classical Chinese music. But the author’sresearch shows that as late as the reign of King Jungjong （r. 1506–44 ）, houqishu was still employed as a technique for confirming the accuracy of the pitch-pipes, and that the specific methods used were influenced by the Lulu xinshu. However, houqishu did not become the principal method used in the production of pitch-pipes, and this poses interesting questions in terms of assessing the status of houqishu in Korea. In light of the above, we might say that the process of reception and assimilation of Lulu xinshu was also a process of conflict and harmonization between the Neo-Confucian elements and the musicological elements to befound in the Lulu xinshu