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"Correct Toko Kinpu"
Published 2001 by Sakata Shinichi,2 but based largely on Toko Kinpu of 1710?
Donggao Qinpu Zhengben
|First page of the modern edition 3|
Melodies from here not in the
Qinqu Jicheng editions
The Japanese handbooks in QQJC are all in Vol. XII. Among the above 57 titles there seem to be 15 or 16 (I am not certain about Nan Xun Ge) that are not included there. It is perhaps noteworthy that, other than the Fusang melodies at the end, almost all of these are versions of full length melodies. While it is true that there are only a few full-length melodies in Hewen Zhuyin Qinpu or the other handbooks included in Qinqu Jicheng, if this "orthodox" Toko Kinpu actually included all these full length pieces it would suggest the level of play in Japan might have been higher than is commonly argued.
Melodies from other early Japanese handbooks not included here
This 2001 edition of Toko Kinpu did not include the following six melodies: presumably the editor(s) thought they date from later than Shin-Etsu himself. The first five are in editions found in Qinqu Jicheng, two of them from Hewen Zhuyin Qinpu: Le Ji Yin and Libie Nan #2. It would be interesting to know what the real origin of these is thought to be. I don't know from what edition Wang Di selected the last one.
There is a chart dated 2009 (.xlsx; see pdf version) based on this book that mentions the first four of these melodies missing from the 1710 edition; I do not understand the significance of their mention here.
The same chart also mentions the following four melodies that were not included in the 1710 edition but were included in one of the handbooks connected to Tokugawa Motoko:
The origins of these four is uncertain. The Tiaoxian Runong in Hewen Zhuyin Qinpu has only the first section of most Cao Man as listed here. Nan Feng Ge does exist in one of the QQJC handbooks (q.v.).
Footnotes (Shorthand references are explained on a separate page)
Orthodox/Correct Toko Kinpu (東皋琴譜正本 Toko Kinpu Shohon)
Unfortunately, neither this book, nor the earlier edition(s) on which it was based, were available to Zha Fuxi when he compiled the Qinqu Jicheng in the 1950s. In 2001 it was published in a limited edition (50 copies) by the senior Japanese qin specialist 坂田進一 Sakata Shinichi (information from the 秋月齋 Autumn Moon Studio).
This handbook is said to have been largely based on the Toko Kinpu of 1710 attributed to Sugiura Kinzen (1660-1711):
Sugiura, along with 人見竹洞 Hitomi Chikudo (1620～1688), are the best known of Shin'etsu's students; 小野田東川 Onoda Tozen, a student of Sugiura, became a professional qin teacher with perhaps over 100 students. All the songs in this handbook has lyrics, so in this quote they are referred to as 和歌 waka, though this should actually refer to poetry in Japanese rather than Chinese.
Some other early Japanese handbooks were also consulted (The reference for this is "2001坂田版東皋琴譜正本（1.序：寒斎「坂田」本 +2.譜：妻鹿本=1,2の合本）", but I have not yet seen it (妻鹿 is 妻鹿友樵 Mega Yusho 1826-1896) ). Some of the other important early Japanese handbooks are discussed at the top of Guqin Handbooks Published in Japan, with some information on later ones given later on that page. The research by Sakata Shinichi apparently determined that several of the melodies from Hewen Zhuyin Qinpu (said to date from "before 1676", meaning they must have been brought to Japan by Shin-Etsu in 1677, but actually surviving from a much later copy) were probably not actually part of Shin-Etsu's own repertoire.
For an index of the works in 琴曲集成 Qinqu Jicheng, Volume XII/165-381, as well as other related information see
Guqin Handbooks Published in Japan.
坂田進一 SAKATA Shinichi
Mr. Sakata is a musicologist, composer and violinist, but his deep love was for the guqin. Born into a family of biwa players, he became enamored of the qin in 1958 when he was able to have some lessons from Zha Fuxi while the latter was visiting Japan. At age 11 he met 劉老先生 an old Mr. Liu, who had been a student of 楊時百 Yang Shibai in China but had then moved to Japan, and for four years studied from Mr. Liu 洞簫 dongxiao and calligraphy as well as continuing to study guqin. Later, as an adult, Mr. Sakata studied qin from 田邊尚雄 Tanabe Hisao. In 1971 Sakata Shinichi founded the Tokyo Qin Society (東京琴社 Tokyo Kinsha).
First page of the "Toko Kinpu Correct Edition"
Table of contents
Sent to me from 秋月齋.
Further introductions to these pieces are mostly where they are included in the handbooks published in Japan>.
修竹吟風 Xiu Zhu Yin Feng (Tall thin bamboo hums in a breeze)
This piece is transcribed in Wang Di, Xian Ge Ya Yun #48 (p.114). It is said to be from Toko Kinpu but no mention is made of the edition. It also has no apparent relation to 修竹留風 Xiu Zhu Liu Feng (XII/89; 16 sections, no lyrics).
The lyrics (source not given) are as follows,
Not yet translated.
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