Great Wall Dictionary

Author: / Country: Mainland China
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Publishing Date: 2003-09-01
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【Twelve Juns and Eighty-Four Modes】A name in musical theory. In ancient Chinese theory of pitch systems, the twelve lǜ (pitch pipes) are arranged in rotation to form twelve juns, namely Huangzhong Jun, Dali Jun, Taizhu Jun, Jazhong Jun, Guxian Jun, Zhonglü Jun, Ruyin Jun, Linzhong Jun, Yijie Jun, Nanlü Jun, Wuyi Jun, and Yingzhong Jun. Each jun can form seven modes, arranged in rotation. Thus, a total of eighty-four modes are obtained. The theory of eighty-four modes was first mentioned in the "Wan Bao Chang Biography" and the "Music Records" of the "Book of Sui," where Zheng Yi's discussion on music theory in the 7th year of the Kaiguo era is recorded. Although eighty-four modes are difficult to solve the practical problem of rotating the palace in non-average temperament systems, their proposal promoted reforms in temperament systems during the Sui and Tang dynasties, leading to the tuning experience of Zuxiaoxun and Zhang Wenshou in early Tang. During the Song Dynasty, practical experience in rotating the palace was abandoned, and the situation reverted to theoretical discussions. However, Zhang Yan in the "Source of Ci" of the Southern Song Dynasty once again emphasized eighty-four modes, which still holds certain value in the theoretical system of pitch systems. The twenty-eight tunes of Yanyue and the seven palaces and twelve modes of the Song Dynasty were all established in their exact positions in the twelve-lǜ pitch system based on the relationships among eighty-four modes. (Liu Zunming)
【Seven Yǔ】A name in musical theory. Refers to one of the four categories of Yanyue twenty-eight tunes. The seven modes of Seven Yǔ are: Zhonglü Tiao, Zhengping Tiao, Gaoping Tiao, Xianlü Tiao, Huangzhong Tiao, Bansi Tiao, and Gaobansi Tiao. The seven modes of Seven Yǔ also have different names: Zhonglü Tiao is also known as Jazhong Yǔ; Zhengping Tiao is also known as Ping Tiao or Linzhong Yǔ; Gaoping Tiao is also known as Nanlü Tiao; Xianlü Tiao is also called Yijie Yǔ; Huangzhong Tiao is also called Huangzhong Yǔ, Wuyi Yǔ, or Yutiao; Bansi Tiao is also called Taizhu Yǔ; and Gaobansi Tiao is also called Gaobansi or Dali Yǔ. (Liu Zunming)
【Seven Sounds】A name in musical theory. Also known as "Seven Tones" or "Seven Lǜ," it refers to the seven-tone scale and the general term for its seven tones, namely Gong, Shang, Jiao, Bi Zhi, Zhi, Yu, and Bi Gong. The concepts of "Seven Tones" and "Seven Lǜ" appeared in early Chinese literature. For example, in the "Zuo Zhuan·Zhao Gong 25th Year," Zi Chan discussed music: "For nine songs, eight winds, seven tones, and six lǜ, to serve the five tones." In the "Yi Guo·Lower Zhou 4th Year," Ling Zhouju discussed music: "Therefore, seven numbers were used to match, and the sound was harmonized with lǜ, so there were seven lǜ." Here, "Seven Tones" and "Seven Lǜ" both refer to the seven-tone scale. Among the seven tones, Gong, Shang, Jiao, Zhi, and Yu are the five main tones, also known as "Five Zheng." This is because the structures of these five tone scales are the same. The two tones of Bi Zhi and Bi Gong change positions according to the differences in the form of the tone scale and are called "Two Bi." Compared to modern Western fixed pitch names, the pitches of the five main tones in the seven tones correspond to C, D, E, G, and A, while the pitches of the two Bi tones correspond to F and B. In ancient China, there were different forms of the seven-tone scale, which are called "Ancient Tones" or "Old Tones." As for the positions of the two Bi tones in the new tone scale and the two Bi tones in the Qing Shang tone scale, they are slightly different from those in the ancient tone scale. The characteristic of the seven-tone scale form is that its half-tone positions are between the fourth, fifth, seventh, and eighth degrees. See "Two Bi" entry. (Liu Zunming)
【Seven Jiao】A name in musical theory. Refers to one of the four categories of Yanyue twenty-eight tunes. The seven modes of Seven Jiao are: Yue Jiao, Dashi Jiao, Gaodashi Jiao, Shuang Jiao, Xiaoshi Jiao, Xiezhi Jiao, and Linzhong Jiao. The seven modes of Seven Jiao each have different names: Yue Jiao is also known as Yue Jiao Tiao or Wuxie Run; Dashi Jiao is also known as Dashishi Jiao Tiao or Huangzhong Run; Gaodashi Jiao is also known as Gaodashishi or Dali Run; Shuang Jiao is also known as Shuang Jiao Tiao, Taizhu Jiao, or Jazhong Run; Xiaoshi Jiao is also known as Xiaoshishi Jiao or Zheng Jiao; Xiezhi Jiao is also known as Xiezhi Jiao Tiao or Linzhong Run; and Linzhong Jiao is also known as Linzhong Jiao Tiao, Shang Jiao, or Yijie Run. See "Yanyue Twenty-Eight Tunes," "Seven Shang," and other entries. (Liu Zunming)
【Seven Gong】A name in musical theory. Refers to one of the four categories of Yanyue twenty-eight tunes. Seven Gong includes seven different pitch systems of Gong Tiao from Zheng Gong to Huangzhong Gong. In the Tang and Song literature related to Yanyue twenty-eight tunes, the order of the seven tunes in Seven Gong has never changed. The seven tunes of Seven Gong are all named starting from Zheng Gong. The earliest literature called them Sha Tiao. Among the seven tunes of Seven Gong, Nanchang Gong has no other names, while the other tunes have many other names. Zheng Gong has other names such as Sha Tiao, Zheng Gong Tiao, Taizhu Gong, and Zheng Huangzhong Gong (see Wang Pu's "Tang Huaiyao" and Zhang Yan's "Source of Ci," etc.); Gaogong is also known as Gaogong Tiao or Dali Gong; Zhong Gong is also known as Jazhong Gong; Daogong is also known as Daotiao, Daotiao Gong, or Linzhong Gong ("Tang Huaiyao," "Beishi·Music Records," "Source of Ci"); Xianlü Gong is also called Yijie Gong; and Huangzhong Gong is also called Wuyi Gong. See "Yanyue Twenty-Eight Tunes," "Seven Shang," and other entries. (Liu Zunming)
【Seven Shang】A name in musical theory. Refers to one of the four categories of Yanyue twenty-eight tunes. The seven modes of Seven Shang are: Yue Tiao, Dashi Tiao, Gaodashi Tiao, Shuang Tiao, Xiaoshi Tiao, Xiezhi Tiao, and Linzhong Shang. Except for Gaodashi (Shi) Tiao, the seven modes of Seven Shang also have different names. Yue Tiao is also known as Huangzhong Shang or Wuyi Shang; Dashi Tiao is also known as Taizhu Shang; Lie Tiao is also known as Zhonglü Shang or Jazhong Shang; Xiaoshi Tiao is also known as Linzhong Shang; Xiezhi Tiao is also known as Shui Tiao or Nanchang Shang; and Linzhong Shang is also known as Shang Tiao or Yijie Shang. See "Yanyue Twenty-Eight Tunes," "Seven Jiao," and other entries. (Liu Zunming)
【Seven Palace Music】A name for musical genres. Also known as "Seven Palace Ensembles," it refers to a large-scale musical performance program in the Sui Dynasty's court Yanyue. It was a preliminary collection of foreign and Chinese music from the Wei, Jin, Southern and Northern Dynasties to the Sui Dynasty after the Sui Dynasty unified the country. According to the "Music Records" in Volume 15 of the "Book of Sui," it is recorded: "At the beginning, in the early Kaiguo era, seven palace ensembles were established: one was 'Guojì,' two was 'Qingshang Jì,' three was 'Gaoli Jì,' four was 'Tianju Jì,' five was 'Anuo Jì,' six was 'Kuzhi Jì,' and seven was 'Wen Kang Jì.' There were also miscellaneous ensembles such as Shule, Fannan, Kanguo, Baekje, Turkic, Goryeo, and Wa." Among them, the so-called 'Guojì' was 'Xilang Jì,' which was obtained when the Northern Wei's Taizhou Emperor Tuoba Tao pacified the Hexi area and was called 'Xilang Yue.' During the period of Northern Wei and Northern Zhou, it was called 'Guojì,' and in the early Sui Dynasty, the name 'Guojì' was continued. All seven palace ensembles were named after ensembles that reflected national identities, and the names of the nine palace ensembles and ten palace ensembles followed this pattern. It was not until the establishment of two palace ensembles that the precedent was broken. See "Nine Palace Ensembles," "Ten Palace Ensembles," and "Two Palace Ensembles" entries. (Liu Zunming)
【Seven Palaces and Twelve Modes】A name in musical theory. Refers to the palace and mode used in Song Dynasty Ci and qu music. From the "Source of Ci" by Zhang Yan in the late Song Dynasty, Volume 1: "Seven palaces are Huangzhong Gong, Xianlü Gong, Zheng Gong, Gaogong, Nanlü Gong, Zhonglü Gong, and Daogong; twelve modes are Dashi Tiao, Xiaoshi Tiao, Bansi Tiao, Xiezhi Tiao, Yue Tiao, Xianlü Tiao, Zhonglü Tiao, Zhengping Tiao, Gaoping Tiao, Shuang Tiao, Huangzhong Yu, and Shang Tiao." (Liu Zunming)
【Seven Palaces and Twenty-Eight Modes】A name in musical theory. Also known as "Folk Music Twenty-Eight Modes" or "Yanyue Twenty-Eight Modes," it is briefly called "Twenty-Eight Modes." It refers to a Yanyue pitch system that formed during the performance activities of the Sui and Tang Dynasty court Yanyue and was later widely used in the court Yanyue and folk music of the Song and Yuan dynasties. It has had a significant impact on the development of Tang and Five Dynasties Ci, Song and Yuan Ci tunes, Ci qu, storytelling, and instrumental music. This twenty-eight-mode pitch system was largely established in the Jiaofang music of the mid-Tang period. Books such as Tang Du Chengshi's "Music Bureau Records" and Song Wang Pu's "Tang Huaiyao" recorded their "time names," i.e., common names. The "Music Records" of the "New Book of Tang·Twelve Rites" clearly recorded: "The so-called folk music has twenty-eight modes: Zheng Gong, Gaogong, Zhonglü Gong, Daogong, Nanlü Gong, Xianlü Gong, and Huangzhong Gong are seven palaces; Yue Tiao, Dashi Tiao, Gaodashi Tiao, Shuang Tiao, Xiaoshi Tiao, Xiezhi Tiao, and Linzhong Shang are seven Shang; Dashi Jiao, Gaodashi Jiao, Shuang Jiao, Xiaoshi Jiao, Xiezhi Jiao, and Linzhong Jiao are seven Jiao. From the large qu to sing one or several parts, it is called 'Zhaiban,' and the main forms of Zhaiban qu are 'Xu,' 'Yin,' 'Getao,' and 'Pao,' which are one of the methods for the formation of Tang and Song Ci tunes. The changes in Tang and Song large qu compared to Tang large qu are: first, combining singing and dancing with storytelling performances for zaju programs, such as the Tang large qu "Bo Mei," which had singing and storytelling titles like "Xi Zi Bo Mei" in the Song Dynasty; second, the Song Dynasty more often used 'Zhaiban' from large qu to fill in words and sing. The lyrics of Tang and Song large qu were also mainly in Ci form, such as Dong Ying's "Bo Mei·Xi Zi Ci" and Zeng Bu's "Shui Diao Ge Tou-Feng Yan Chuan," which were both used as lyrics for large qu, and could also be seen as Ci under the name of large qu. (Liu Zunming)
【Da Zhu】A term in musical theory. Refers to the ending tone of the rhythm extended to twice the length of one beat. In the "Supplementary Notes" of Shen Kuo's "Dream Pool Records," it is said: "One large character (should be 'one character Da Zhu') is equivalent to two characters." This means one large character should be sung as two sounds. For example, in the qu "Zhangzhou Man" and "Changting Yuanman" by Jiang Kui, "Da Zhu" is used, i.e., the ending tone of the qu is sung with a longer rhythm. See "Zhu," "Sha Sheng," and "Shi Zhu" entries. (Liu Zunming)