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Moon Over the Event Hall
Subtitle: On an Autumn Evening Hearing Cricket Sounds2
|Yu mode: (?3) Standard tuning here seems to give 1 2 4 5 6 1 2||Yue Dang Ting|
|The original tablature (expand) 4|
Regarding the origin of the particular cipai called Yue Dang Ting (Moon Over the Event Hall), the standard (earliest example) of lyrics is seems to have been a poem by 史達祖 Shi Dazu (1163-1220). His lyrics can be seen here). I have not yet seen examples of lyrics in this structure other than those and the ones with the present song.
As for the subtitle, On an Autumn Evening Hearing Cricket Sounds, interestingly, there is another poem that has this same subtitle but is in a different ci form (Pusa Man; further below).
The melody has no preface but beneath the title Yue Dang Ting it says, "On an Autumn Evening Hearing Cricket Sounds", (by) Zou Xushi (Zou Zhimo6). Yue Dang Ting is thus only the name of the ci structure, while the latter name should concern the actual theme of the poem.
Regarding the author of these lyrics, Zou Zhimo (1627-1670), he was "one of the most important and acknowledged masters of Ci-lyrics in the early Qing dynasty". Since Jiang Xingchou left for Japan in 1676 the lyrics would then have been quite recent. In this context it is interested to consider the possibility that Zou's lyrics were at the time already accompanied by a melody.
Here, however, there is a problem, as the first line of Zou's poem is elsewhere punctuated according to the Yue Dang Ting standard of 7+4+4 (as here and with Shi's original poem), here it is paired to lyrics that seem to have the phrasing 6+3+6. My normal method when encountering such an issue is to try to use a phrasing that could be interpreted either way.
Another challenge with this piece is that its modality does not seem to be consistent. Based on the rhyming pattern the ci has eight lines. However, from my analysis these eight lines can be grouped as four double lines, each with its own mood. This is unusual and should be explored further.
Music and lyrics 4 (See 看五線譜 tentative transcription; timings follow my recording: 聽我的錄音 listen)
The lyrics here, compared to the standard versions one can find online, are missing several punctuation marks (they have been added here). More seriously, though, in the first line the phrases are punctuated differently. This is indicated below (see also red marks on the tablature itself):
The full lyrics here, with line numbers added to make comparison with the transcription easier, are as follows:
Translation incomplete; the word count is:
Footnotes (Shorthand references are explained on a separate page)
Yue Dang Ting (QQJC XII/213)
The dictionary reference is:
As mentioned above, the word count for phrases is somewhat different from the phrasing given for the same lyrics elsewhere. Elsewhere they are as follows:
The word count is:
For the significance of the subtitle see next footnote.
On an Autumn Evening Hearing Cricket Sounds(秋夜聞蟋蟀聲 Qiu Ye Wen Xi Shuai Sheng)
Regarding the subtitle: 秋夜聞蟋蟀聲 (On an autumn evening hearing cricket sounds) 25505.134 is only 秋夜 qiu ye but in addition to being the title of the present lyrics it also the title of lyrics attributed to Zhou's contemporary 張令儀 Zhang Lingyi in what is said to be the ci form called Pusa Man.
As for 菩薩蠻 Pusa Man, translated sometimes as Bodhisattva's Headdress, Bodhisattva's Golden Headdress, Bodhisattva the Barbarian and more, this website has what it calls the standard ci form. The lyrics in this form do have a similar theme, but the actual lyrics are very different and the structure is unrelated to that of Yue Dang Ting, as follows:
Not translated. Further examples in this form can be seen, e.g., at xungushici.com. A translated example is given here.
"Yu mode" (商音 Yu Yin) (? relative tuning seems to be 1 2 4 5 6 1 2)
Yu mode is discssed under Shenpin Yu Yi, with the modality of melodies in general surviving from Ming dynasty tablature discussed under Modality in early Ming qin tablature. According to my understanding (short background), Chinese music was always considered in terms of relative pitch, and the standard relative pitches followed the scale do re mi sol la (1 2 3 5 6). As can be seen in the charts near the top of the modality page, yu mode melodies almost invariably treat the relative tuning as 5 6 1 2 3 5 6, and the resulting tonal centers are 6 (la) then mi (3). However, but treating the present tablature that way here gives numerous occurences of 7 but almost none of 1: for the scale to be 1 2 3 5 6 the tuning must be considered as 1 2 4 5 6 1 2.
In neither case, though, would the melody be considered as following the standard custom of yu being a "la-mi mode. Instead the main tonal center seems to be 1, secondarily 5 and 6, but then ending on 2 over 6.
The original tablature:
Note the red marks indicating the phrasing of what is said to be the "correct" form.
Tracing Yue Dang Ting
Zha Guide 35/__/508 says only here.
鄒祇謨 Zou Zhimo (1627－1670)
Referred to here by his literary name, 鄒訏士 Zou Xushi, Zou is also credited with the lyrics for #22, #23 and #24 of the present handbook. The lyrics for the present melody must have been quite new when Jiang Xingchou took them (or the melodies with them) to Japan in the 1676.
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