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Chapter Six: Song and Yuan dynasties 1  
Xu Jian, Introductory History of the Qin, p. 95
第六章﹕宋,元
許健,琴史初編,第95頁

6.B. Qin Melodies 2  

(Preface) 3  

琴曲  

(序)  

Song dynasty qin melodies were more numerous than in previous periods; also preserved are rather more materials concerning them. In order conveniently to explain these issues, in addition to selecting a few representative works to introduce as focal points for analysis (i.e., the eight melodies listed below) we will also make a few preliminary explanations based on a few circumstances reflected by,

melody lists, as well as by
the structure of "diaozi" (and caonong) that were then in vogue.

 
1-0: Qin melody introductions 4  

(Preface) 5  

琴曲介紹  

(序)  

This introduces four categories of Song dynasty qin melodies (represented by the eight melodies mentioned here; Xu Jian's commentary on them is mostly not yet translated, so the links below are to this website's general introductions to the melodies):

  1. Works that use traditional subject matter; these include
           
    Chu Ge and
            Hujia Shibapai;
  2. Widespread masterpieces by famous players; these include
            Xiao Xiang Shui Yun and
            Yu Ge;
  3. Melodies that possess special characteristics of that period; these include
            Zui Weng Yin and
            Zepan Yin;
  4. The two earliest surviving qin songs:
            Gu Yuan and
            Kaizhi Huangying Yin.

(Continue with Chu Ge)

 
Footnotes (Shorthand references are explained on a separate page)

1. Chapter 6 covers these dynasties (dates, capital city [modern name]):

Northern Song (960-1126; Dongjing [Kaifeng])
Liao (907-1125; Dading Fu [Daning?])
Southern Song (1127-1280; Linan Fu [Hangzhou])
Jin (1115-1260; Zhongdu [Beijing])
Yuan (1206-1280-1368; Dadu [Beijing])
(Return)

2. Translation by JT
(Return)

3. QSCB has no separate title for this short preface; for convenience the paragraph is here re-formatted from the original.
(Return)

4. 琴曲介紹人 Qinqu Jieshao
(Return)

5. QSCB also has no separate title for this short preface; for convenience the paragraph is here re-formatted from the original.
(Return)

Return to the top or to Song-Yuan in the Qinshi Chubian outline.