HISTORY OF THE YUAN MANUSCRIPTS:

Dr. Erdenechimeg Luvsannorov

Ethnomusicologist,

 Visiting research scholar

Indiana Universiy, USA

echimeg2002@yahoo.com

Royal music twelve temperaments in chapters 70 and 71

《元史》卷七十及七十一之宮廷

The aim of the presentation is to introduce the “Yuan shi (元史)” (Sutra manuscript of the Yuan dynasty). It is one of the most important sources of history for the study of the 13-14th centuries. This basic history is comprised of 210 juan (卷 volumes), five of which are dedicated to the discussion of art and culture, specifically musical heritage and custom.  This research paper is a discussion of volumes 70 and 71.           

本文主要的宗旨是介紹元朝的历史(元朝的Sutra  manuscript)。这是研究十三至十四世纪史的其中一项重要的源头。元史由二百一十卷组成, 其中的五卷记载了有关艺术和文化方面的论述，特別是音乐的传承和习俗。本文着重于卷七十及七十一的研究。

The “History of the Yuan” is divided into four parts. 1.“Benji” (本纪ug temdeglel,) is the basic annals of 47 chapters; 2. “Zhi” (oillogo,志)  records, 58 chapters; 3. “Biao” (iltgel, 表) genealogical tables, 8 chapters; 4. “Lie zhuan” (olon shastir, 列传) biographies, 97 chapters. The second part called “Zhi” consists of (omitted “the“)  many records such as “li yue” (礼 乐) ceremony and music. The second section contains the following five topics related to palace music which serve as the focus of this paper: 1) clothing, 2) dance, 3) wedding music commemorative box ( book)- musical instruments, 4) musical sounds and 5) drama.

《元史》可以分成四个部份。第一部份是以编年的方式来叙述历代君主政迹的《本纪》, 共有47卷; 第二部份是记述典章制度的《志》, 共58卷; 第三部份是记载历代宗室族谱之《表》, 共8卷; 第四部份则是记载后妃功臣事迹的《列传》, 共97卷。其中, 第二部份的《志》记录了许多篇幅的札记, 例如《礼乐》便是当中的一则。本论文将会着重探讨《礼乐》之后半段与宫廷音乐有关的五个课题, 即: 一、乐服, 二、乐舞, 三、宴乐之器, 四、乐音, 五、杂剧。

The History of the Yuan was originally written in ancient Chinese. “In the first year of Hong Wu (洪武), emperor Zhu Yuan Zhang (朱元璋), the founder of the Ming (明) dynasty, issued an edict calling for the compilation of the “Yuan shi”.  In the second year of Hong Wu the bureau for composing the “Yuan shi” was opened and a group of 16 historians started to compose it.” (Atwood, 2003, 3). Only two handwritten copies of this 210-volume “History of the Yuan” are in existence in the Mongolian National Library. Therefore they are not available either for researchers or the general public to read. Even though modern Mongolians can now read the ancient language, the terms, usage and theory are obscure. An additional problem for language and music researchers is lack of familiarity with ancient music terminology.

明朝初年(即洪武元年), 朱元璋即位后，便下诏编修《元史》。洪武二年（1369）正式开局编写，由一组十六人的史学家参与纂修工作。全书以古汉语写成。现今存放在外蒙古国家图书館內的兩份手抄本, 是《元史》二百一十卷中, 唯一硕存的资料。因此他們不允许研究人员或公众人士借阅。尽管现代的蒙古人巳经能夠阅读古代的语言文字, 然而对许多的术语、使用方法和乐理仍然感到难于理解; 而最让那些研究语言和音乐的学者感到棘手的问题, 莫过于是对古代音乐术语的缺乏认知(精通)。

From the 13th century until today these manuscripts have been waiting for a researcher. Research into music enlightens the field in regard to (omitted “the”) etiquette, aesthetics, ethics, artistic skills and the education of children. What is the legacy of palace music in Asian music today? Why did the palace music die out? In Europe, complex orchestral music continued to develop and grow richer from the middle ages until today. It is evident that the kings valued the palace music. The traditional historical view of this period depicts an aggressive war –like  society. However, the research in the palace music described in the Yuan shi gives a more balanced picture of the culture and society of the ancient Asians. The descriptions of dance costuming, drama, aesthetics and musical temperaments in the Yuan shi inform the modern  artist and music educator, of very important connections between the ancient and modern traditions in Asian music.  

 从十三世纪到今天, 这些手稿一直都在期盼着研究人员的出现, 以进行音乐到礼仪、美学、伦理、艺术技能及儿童教育领域的延伸探讨。今天, 宮廷音乐给亚洲音乐遗留下了什么? 为什么宮廷音乐会消失? 在欧洲, 复杂的管弦音乐能从中世纪一直不断地发展并茁长到今天, 显然是国王们给予宮廷音乐高度的重视所至。而传統的历史观往往会把这一段时期描绘成一个好鬥善战的社会。不过, 对元代宮廷音乐的研究, 卻使人相信古代的亚洲人是生活在一个相对和谐的文化和社会里面。《元史》中敘述的舞服、杂剧、美学和音律, 告诉了現代的艺术家和音乐教育家, 能夠维系古代与現代之间的世代相袭, 就是对亚洲音乐最好的贡献。

 

The honor in respect that surrounded the musical ceremonies of the ancient palace might seem lost in the activity in the modern life. It is this researcher’s hope that further study of these ancient practices will again bring sense of respect and cultural context to today’s artistic endeavors in the world of Asian music. The translation and study of these handwritten books-the” The History of the Yuan” – brings additional meaning to the practice and development of Chinese and Asian music. This is of a part of world music history that will not be lost.

今天, 曾经给古代宮廷帶来无数荣誉的音乐庆典活动似乎失去了它原先的作用。但是, 笔者希望通过对这些古老实践的进一步的研究,通过对《元史》文稿的翻译和研究, 将给亚洲音乐的实践和发展帶来另一层意义, 因为它是世界音乐历史不可或缺的一部份。