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| Handbook List QXXS Zhuang Zhenfeng | 首頁 |
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Qinxue Xinsheng Xiepu
Qin Studies Heartfelt Sounds Harmonious Tablature 1 |
琴學心聲諧譜
ca. 1650 |
| 目錄 Table of Contents | Original ToC, Folio 2 (expand) 2 |
(Qin Xue Xinsheng 12 + 2 melodies)
莊蝶菴琴學心聲跋 Epilogue by Zhuang Zhenfeng himself (XII/109)
琴學心聲諧譜後序 Afterword to Qinxue Xinsheng Xiepu (1666; XII/110)
琴學心聲跋 Epilogue to Qinxue Xinsheng (1664; XII/111)
One appended folio
范光文集古詩跋 Epilogue by Fan Guangwen about the old poems collected (1665; XII/1102)
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Qinxue Xinsheng Xiepu
1.
Table of Contents
2.
Table of Contents, Folio 2
4.
An Immortal Crane in the Clouds (雲中笙鶴 Yunzhong Sheng He)
(XII/78)
For shenghe 笙鶴 26531.22 says 仙鶴名 the name of an immortal crane.
5.
The role of 莊臻鳳 Zhuang Zhenfeng in creating the pieces in his handbook
From this one can see that he is credited with having "子著 written" five of the six pieces with no lyrics and having "製 crafted" the sixth. As for the eight pieces with lyrics it is a bit more vague. Only one (#1) is he said to have "written", all the others he "子諧音 arranged" or "edited 子編". Perhaps he did create the music, but perhaps in some cases he was adapting existing melodies.
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Qinxue Xinsheng Xiepu
By six different people:
嚴沆 Yan Hang
查培繼 Zha Peiji
鄭旭 Zheng Xu
梁知先 Liang Zhixian
莊臻鳳 Zhuang Zhenfeng himself
This is discussed in QSCB, Qing Dynasty,
Qin essays
(中文 QSCB p.165-6)
Then 61 further miscellaneous essays, charts, etc., including
Further details
Lists the 14 melodies (12+2), 8 with lyrics, each with a preface; of these (see Zha Guide 33-4):
five are only here,
four are only here and in
Yiluxuan Qinpu (ca. 1802)
one is the first of three
one is the first of four
one is the first of five
one is the first of 23
one was published earlier (and often later),
#13 and #14 are in reverse order from here, with a note suggesting they may have been appended later
Sections are untitled unless otherwise indicated (note attributions4)
10+1 sections; preface dated 1663;
attributed revisions; lyrics (皇帝聖神，猶然齊袚深宮....); only here (5965.xxx)
12+1 titled sections; preface dated 1665; only here
Lyrics (Buddhist chant: 南無佛陀也....);
earliest was 1592;
Zhuang Zhenfeng arranged the music; 10th of 51;
attributed revisions
10+1 titled sections; preface dated 1664; ci lyrics;
first of 5: others are
ca. 1802,
1833,
1876 and
1882.
9+1 sections; lyrics (紅塵碧水....); only here and in
ca. 1802
3 sections; shi lyrics; only here
Settings of three Tang dynasty poems, all with the structure [7+7] x 4
(compare the melody Shi Yin)
9 sections; first of four (others are
1702,
ca. 1802 and
1876)
16+1 sections; first of three; afterword discusses tuning or intonation; many non pentatonic notes
(Also in ca. 1802 [XIX/193; same] and 1876 [XXI/185; calls it 修竹流風, changes finger positions])
5 sections; lyrics (永和九年....) are the Lanting Xu by
Wang Xizhi; no musical relation to Xiuxi Yin; only here
10+1 titled sections; lyrics (遐哉穆滿....);
only here and in
ca. 1802
24+1 sections; only here and in
ca. 1802;
Huangzhong tuning;
further details below
5.
10 sections; only here and in ca. 1802
"The Music of Heaven Unrestrained"? 41132.1 鈞天 1. 九天之一 one of the nine heavens; 2. 音樂名，參見鈞天廣樂 name of a music, see Jun tian guang yue, which Shi Ji called, "The music of heaven."
Shouldn't this be after p.164?
10 sections; no preface; lyrics (栩栩者蝶耶，遽遽者睫耶。....) by 錢塘毛先舒稚黃氏譜詞; only here
毛先舒 Mao Xianshu (1620 - 1688), style name 稚黃 Zhihuang, was a poet from 浙江仁和 Renhu in Zhejiang (Chinese Wiki)
清宮音 qinggong mode (5 6 1 2 3 5 6);
first of 23 (but no later one is a copy of this);
preface dated 1670
Footnotes (Shorthand references are explained on a
separate page)
Qinxue Xinsheng Xiepu is in QQJC XII 1-160
(Return)
QQJC XII/60-61. These pages are copied to highlight the fact that the last two pieces seem to have been added separately at the end, qne elsewhere there are references that seem to suggest this handbook had 12 melodies, but all 14 are included here as part of the whole. I have not yet clarified this.
(Return)
This composition by Zhuang Zhenfeng, in Huangzhong mode (lowered first string, raised fifth; 1 3 5 6 1 2 3), survives only from
here and >1802. Furthermore,
a comment attached to the melody Hujia Shibapai as published in 1820 stated that this Hujia was one of only four melodies using this tuning that was still extant (played?), the others being Yunzhong Shenghe,
Da Ya and
Qiu Yue Zhao Maoting.
(Return)
The attributions with the 14 melodies above are given only in Chinese. There the original terms used for his role in creating them are as follows:
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