【古譜殘佚復原】浣溪沙 (敦煌文獻 P. 3719) -- [Reconstructed Pipa Score Fragment] Laundering by the Stream (P. 3719)

0:00 標題 Title
0:06 復原過程一覽 Overview of the Restoration Process
0:25 樂譜復原概要 Summary of the Restoration Process
0:28 (1) 特殊譜字譯析及轉換 Analysis & Conversion of Unique Symbols
1:18 (2) 樂曲節拍及結構分析 Analysis of Rhythm & Musical Structure
1:48 (3) 確認宮調及琵琶定弦 Determining Key/Mode & Associated Tuning
2:24 樂曲演奏 1: 琵琶獨奏 Featured Performance 1: Pípá Solo
2:48 樂曲演奏 2: 唐樂合奏 Featured Performance 2: Táng-period Ensemble
3:20 片末 End Credits

Laundering by the Stream (浣溪沙; Huàn-xī-shā) was originally part of the repertoire of the Jiào-fāng (教坊) - the official institute of musicians and dancers serving the Táng imperial court. It was also a popular piece among poets for setting lyrics. The title originated from the story of Xī Shī (西施; one of the "Four Beauties of Ancient China") washing her silk scarf by the Ruò-yé Stream (若耶溪), and her beauty captured even the fish in the water they forgot how to swim. By the late Táng (836-907) and Five-Dynasties-and-Ten-Kingdoms (五代十國; Wǔ-dài Shí-guó; 907-979) periods, this piece was rearranged to accompany the Jiǔ-lìng wǔ (酒令舞; a type of drinking game dance with unique rules that was popular at the time) sharing the same title.
On the back of the Dunhuang manuscript P. 3719 (Pelliot chinois 3719) is an incomplete copy of the pipa score of Laundering by the Stream. It contains a short passage with only 14 symbols, some of which are unique to this score and not seen anywhere else. Its scoring convention is also different from other surviving pipa scores known to date. This video features an attempt in deciphering this score and reconstructing the music recorded therein based on previous work by multiple scholars and our current understanding of the Táng pipa's playing techniques and scoring convention. Both a pipa solo version and a Táng-period ensemble version of the rescontructed music are presented.

《浣溪沙》(又名《浣溪紗》、《浣紗溪》、《山花子》等)，曲名取自西施浣紗於若耶溪而得「沉魚」之代稱的故事，原為唐代教坊樂曲，常被用作詞牌，至晚唐(836-907年)及五代十國時期(907-979年)亦作同名「酒令舞」(一種帶遊戲成分的酒筵樂舞)的伴樂。
《敦煌文獻》 P.3719 稿件的背面記有題為《浣溪沙》的琵琶譜斷簡，只有十四個譜字，為未完成的抄本。其中除常用的琵琶譜字外，也有「復」、「乀」、「幺」等未見於他譜的特殊譜字，記譜方式也與其他現存琵琶譜有異。現以多位近代學者對《浣溪沙》樂譜及與其相應的同名「酒令舞」舞譜(《敦煌文獻》 P.3501)的研究為基礎，加上今人對唐琵琶的記譜方式及演奏技巧、習慣的理解，再輔以其他古文獻的相關資料嘗試為《浣溪沙》樂譜作譯析及重構所載樂曲，在此分別以琵琶獨奏及唐樂合奏形式呈現。


Reference 參考資料:

饒宗頤，『敦煌琵琶譜《浣溪沙》殘譜研究』 (Dūnhuáng Pípá Pǔ “Huàn-xī-shā” Cánpǔ Yánjiū; Investigation of the Dunhuang Pipa Score Fragment "Huàn-xī-shā", by Jao Tsung-I) 《中國音樂》1985年第一期，第46-47頁 (Zhongguo Yinyue, 1985(1), pp. 46-47)

饒宗頤，『浣溪沙琵琶譜發微』 (Huàn-xī-shā Pípá Pǔ Fāwēi; Further details of the Dunhuang Pipa Score "Huàn-xī-shā", by Jao Tsung-I) 《中國音樂》1988年第四期，第3頁 (Zhongguo Yinyue, 1988(4), p. 3)

孫坤，『中國古文標點特徵與創制機理：與歐洲標點傳統對比』 (Zhōngguó Gǔwén Biāodiǎn Tèzhǐ Yǔ Chuàngzhì Gīlǐ: Yǔ Ōuzhōu Biāodiǎn Chuántǒng Duìbǐ; The Characteristics and Creation Mechanism of Ancient Chinese Punctuation: A Comparison with the European Tradition, by Sūn Kūn) 《中國語文》2015年第六期，第536-576頁 (Zhōngguó Yǔwén, 2015(6), pp. 536-576)

王小盾、高宇星，『敦煌舞譜：一個文化表象的生成與消亡』 (Dūnhuáng Wǔ Pǔ: Yīgè Wénhuà Biǎoxiàng De Shēngchéng Yǔ Xiāowáng; Dunhuang Dance Notations: How did a Cultural Representation Come into Being and Die out?, by Wáng Xiǎo-dùn, Gāo Yǔ-xīng) 《音樂藝術》2018年第二期，第6-18頁 (The Art of Music, 2018(2), pp. 6-18)

Wolpert, R. F. "A ninth-century Sino-Japanese lute-tutor" Musica Asiatica, 1977 Vol. 1, pp. 111-165

陳應時，《敦煌樂譜解譯辨正》 (Dūnhuáng Yuèpǔ Jiěyì Biànzhèng; Interpretation and Rectification of the Dunhuang Music Score, by Chén Yìng-shí) 上海音樂學院出版社 (Shanghai Conservatory of Music Press) 2005.6 ISBN 7-80692-147-8