(1) Shakuhachi, the inheritance of Han flute and Wei and Jin flutes

The shakuhachi is an important wind instrument in ancient my country. Nowadays, when it comes to Shakuhachi, only a few people know about it, and even fewer are familiar with it. Regarding the Shakuhachi, "Chinese Music Dictionary" has the following explanation: "Shakuhachi is an ancient wind instrument. It appeared in the Tang Dynasty. It is said that Lu Cai was good at making this instrument." If we examine this passage carefully, it is not difficult to find that this passage does not explain the problem clearly. For example, Lu Cai, who was good at making shakuhachi, was from the Sui and Tang Dynasties. According to the records of "Old Book of Tang" and "New Book of Tang", he had produced a set of (twelve) shakuhachi "in harmony with the rhythm" before the third year of Zhenguan. It can be seen that the phrase "already appeared in the Tang Dynasty" does not clearly state the specific time when the Shakuhachi appeared. In fact, the shakuhachi instrument existed before the Tang Dynasty, but it had a different name: before the Tang Dynasty, it was called a flute, and in the Tang Dynasty, it was called the shakuhachi.

The reason why Lu Cai wanted to make the shakuhachi was for the sake of formal music; the shakuhachi designed by Lu Cai was an inheritance and improvement of the Wei and Jin flutes; as for the Wei and Jin flutes, it was actually The development of Han flute, Han flute is Jingfang's improvement of Qiang flute. Regarding the relationship between the Qiang flute and the Han flute, the famous poem "Ode to the Flute" by Ma Rong (79-166), a famous scholar in the Eastern Han Dynasty, can be used as proof. Ma Rong's "Ode to the Flute" writes:

In modern times, the double flute originated from the Qiang people, who had not yet cut down bamboo. The dragon roars in the water but the sound is similar to the sound of cutting bamboo and blowing.

The holes on it are cut out to make it easier to hold. Yi Jingjun clearly understood the rhythm, so he added one of the four holes in this book.

The hole added by Jun Ming comes out later, which is the completion of the five tones of Shang Sheng.

Ma Rong believed that the Han flute was passed down from the Qiang people. According to Ma Rong, the Qiang flute originally had four holes (the four holes refer to the fact that including the bottom hole called the middle sound hole of the flute body, there are actually only three finger holes). Jingfang (77 BC - 37 BC) added a rear exit hole to this Qiang flute, and designated the sound played by this sound hole as the Shang sound, so that it can play the whole palace, Shang, Jiao, Zheng, and Yu Five sounds. It can also be seen from the explanation that "Jun Ming added holes and came out" that the Han flute, like the Qiang flute, is a vertical flute. The rear exit hole is designated as Shang Sheng, which is said to be because "the sound of the ancient flute tube is still high".

The double flutes mentioned by Ma Rong are except for the flute used for "graceful music" that is sung throughout "Flute Fu". What kind of flute the other one is is not explained. This kind of flute not only continued during the Wei and Jin Dynasties, but also underwent major improvements. The original flute with holes added by Jingfang only had four finger holes and could only play five sounds; while the flute in the Wei and Jin Dynasties already had six finger holes and could play Quan Gong, Shang, Jiao, Bian Zheng, Zheng, Yu, etc. Change the palace and wait for seven sounds. In addition, the barrel sound (middle sound) of the flute in the Wei and Jin Dynasties is no longer the corner sound. Therefore, when Xunxu formulated the flute rhythm (i.e., "Xunxu Flute Rhythm") in the 10th year of Taishi (AD 274), he would follow the The flute (the "Taishi flute") made by his flute tune has the tube sound (the middle sound of the flute body) as "horn", and he said, "The sound of the horn is in the flute body, which is the ancient system."

Incidentally, regarding the origin of the flute, "Zhou Li? Chun Guan" records that "the master of Sheng taught how to play the yu, sheng, xun, harp, Xiao, chi, flute, and pipe" , if this theory is credible, then the flute itself is a Han musical instrument. However, this type of flute from the Zhou Dynasty may have disappeared by the Han Dynasty, otherwise there would not be many new theories. As for the flutes that appeared in the Han Dynasty, in addition to the theory that the Qiang flute was introduced, there is also a theory that Zhang Qian brought it back from his mission to the Western Regions, and that Qiu Zhong, a man of Emperor Wu of the Han Dynasty, made flutes. Are these statements true or false? The author thinks that all may be correct. It turns out that before the Han Dynasty in my country, all instruments played horizontally or vertically were called flutes, just like many plucked instruments were called pipa during the Wei and Jin Dynasties. The flute described in "The Rites of Zhou", the flute made by Qiu Zhong, and the flute brought back by Zhang Qian from the Western Regions, we cannot judge that they are of the same style. If they are not the same style, what are the differences between them? Since the written records are unknown, the author dare not make any comments. However, the style of the flute mentioned in Ma Rong's "Flute Fu" is relatively clear, so it can be concluded that it is the predecessor of the flute in the Wei and Jin Dynasties.

As for the vertical "flute" played in the Han and Wei dynasties, it is often mistaken for "Xiao" by modern people. For example, the explanation under the "Xiao" entry in the "Chinese Music Dictionary" says: "It is also called the Dongxiao. It has a single pipe and is blown vertically. The image of the flute can already be seen in the pottery figurines of the Han Dynasty and the carvings of the Yungang Grottoes in the Northern Wei Dynasty." It is for this reason. , the Shanghai Museum compiled the "ancient sculptures" in its collection into the book "Chinese Ancient Sculpture Museum", published by Shanghai Ancient Books Publishing House. The description of the sixth picture in the "Warring States, Qin and Han Periods" section is said to be "Blow Xiao Sculpture".

The author can tell at a glance that what is being played is not a "flute", but an authentic "flute" - the flute of the Han and Wei dynasties. This sculpture has a vivid image. In addition to the freehand fingering, the style of the instruments used and the mouth shape when playing are all very realistic. The instrument is as long as the waist. If the player is of medium stature, the length of the instrument should be about 50 centimeters, which is equivalent to the Zhonglu flute among the twelve "Taishi flutes" recorded in "Book of Jin·Lülizhi". The effective lengths of today's hole flutes from the mouthpiece to the tuning hole are similar. If you look closely at the player's mouth shape when playing, it is exactly like playing the shakuhachi. The crescent-shaped mouthpiece of the shakuhachi is wider than the mouthpiece of today's dongxiao, and there are holes at both ends. Therefore, the requirements for the mouth shape when playing are obviously different from those of the dongxiao. This is something that people who don’t play shakuhachi and dongxiao can’t appreciate.

The specific style of flutes in the Wei and Jin Dynasties is no longer available. As for the "Taishi Flute" mentioned in "Xunxu Dilu" (because the production specifications of this flute were formulated in the 10th year of Taishi in the Western Jin Dynasty, it was so called in later generations), "Song Shu? Preface to the Rhythm" and "Jin Shu? "Lu Li Zhi" has detailed records. "Xunxu Flute Rhythm" is an extremely important temperament document in the history of Chinese music. "Xunxu Flute Rhythm" talks about the production method of "Taishi Flute" that strictly conforms to the three-point law of profit and loss. Therefore, It is also an extremely rare recorder production document in the history of ancient Chinese musical instrument craftsmanship. "Xunxu Flute Rules" talks about how to use the three-point profit and loss method to make twelve "Taishi Flute" that conform to the twelve rules. Xun Xu formulated the flute rhythm and designed the twelve "Taishi flutes" for the purpose of correcting elegant music; because the flutes are "like bells and chimes" and have a relatively stable pitch. In recent years, the author has devoted most of his energy to the study of "Xunxu Flute Rhythm" and the copying of "Taishi Flute". Mr. Yang Yinliu first made a "yellow bell and flute" according to the style of modern Dongxiao. The author thinks that the one made by Mr. Yang should be called "Huang Zhongxiao" instead of Huang Zhongdi. Mr. Yang believes that this flute "basically meets" the requirements recorded in the Jin Dynasty. The author believes that the Huang Zhongzheng law relied on by Mr. Yang is not credible, so the conclusion is also not credible. The author has also made a Taishi flute based on the style of the modern Japanese shakuhachi. It was found that although this flute can comply with the three-part law, the pitch of each sound hole cannot comply with the twelve-law Lu 1. In recent years, the author has made many times in accordance with the material selection standards of the Tang Dynasty shakuhachi stored in Shosoin, Japan. It turns out that the absolute pitch of the Taishi flute made in this way can comply with the "Huang Zhong Zhenglu" and the "Huang Zhong Zhenglu". "Zhenglu" produces twelve rhythms (the author used the Huangzhong Zhenglu pipe to calibrate the sound), so the interval relationship between the sound holes must comply with the law of gain and loss of three points. As long as the Taishi flute is made according to the style of the Shakuhachi of the Tang Dynasty, it can comply with the twelve laws and regulations. This is by no means an accidental coincidence in production. This fact fully proves that the shakuhachi in the Tang Dynasty is the continuation and development of the flute in the Wei and Jin Dynasties; the shakuhachi instrument existed before the Tang Dynasty, but it was called a flute before the Tang Dynasty, and it was only named shakuhachi in the Tang Dynasty.

(2) The shakuhachi is an improvement of the Wei and Jin flutes

There is no doubt that the name of the shakuhachi originated in the Tang Dynasty. Because there was indeed no Shakuhachi name before Tang. Lu Cai designed the shakuhachi, just like Xun Xu designed the Taishi flute, both for the purpose of promoting elegant music. This can be proved by records in the old and new "Book of Tang". "Old Book of Tang: Lu Cai Zhuan" records: "In the third year of Zhenguan, Emperor Taizong ordered his ancestor Xiaosun to add music to his music. Xiaosun Nai had a close relationship with Wang Changtong and Bai Mingda, who were both Mingyin and Lu people. Taizong ordered his ministers to visit more capable people. The book ordered Wen Yanbo to play a talented and versatile person: the eyes have never seen it, the ears have never heard it, and he has achieved something wonderful every time he hears it. He is especially good at vocal music. Please let him test it. Wang Gui and Wei Zheng, who are also highly praised for their talents. The wonder of scholarship. Zheng said: "The shakuhachi are of different lengths, and they all have different rhymes."

What is "shakuhachi"? A shakuhachi is a recorder with a length of one shakuhachi. It can be seen from Wei Zheng's words that "(Lu) Cai was able to make twelve shakuhachi of different lengths." Lu Cai made twelve shakuhachi of different lengths at that time. Since the lengths of the twelve branches are different, why is it called "Shakuhachi"? It turns out that the length of the yellow bell pipe among the twelve shakuhachi pipes is one shakuhachi. Lu Cai used the length of the yellow bell flute pipe to refer to the name of the twelve flute pipes. Not all shakuhachi are one shakuhachi in length.

The Shakuhachi designed by Lu Cai is the same as the Taishi flute designed by Xun Xu, with a set of twelve pieces. They are both improvements on the flutes of the Wei and Jin Dynasties.

As for Xun Xu’s formulation of the flute rhythm, it was because “the length of the flute made at that time had no specific rules. Because of "harmony".

Xunxu believed that "the flute has a certain tune, so all the string songs are based on the flute. The flute is like a bell and chime, and it must conform to the rules." Therefore, he "made twelve flutes according to the twelve rules, and made each hole follow the same tune." , so that the seven sounds of the flute "can be known as palaces, merchants, horns, and levies". No matter how good Xun Xu's idea was and how reasonable the production was, it is a fact that Taishi Flute was not put into practical use, let alone spread.

After the Western Jin Dynasty, there was a split between the north and the south. After the establishment of the unified Tang Empire, of course there was a requirement for "righteous music". At that time, Lu Cai designed and produced twelve shakuhachi that were "in harmony with the rhythm". Although he was not ordered by the ruler, there is no doubt that Lu Cai's actions were for the purpose of Zhenggayue. Although the shakuhachi designed by Lu Cai lacks historical information, it can still be concluded that it was influenced by Xun Xu's design of the Taishi flute.

If we compare the Shakuhachi designed by Lu Cai with the Taishi flute designed by Xun Xu, it is not difficult to see the inheritance relationship and differences between them. This inheritance relationship is that the sounds in the flute body are multiples of the corresponding temperament: the middle tone of the Taishi flute is the angle tone, so the length of the flute is four times or eight times the angle temperament; the shakuhachi is a yellow bell. , its length is one foot and eight inches, which is twice the length of Huang Zhong's rhythm, and its sound is Huang Zhong's regular rhythm, which is enough to show its generality. The difference is: the shakuhachi is shorter than the Taishi flute, and it is not like the Taishi flute that insists on the middle sound of the flute body as the horn to advocate the ancient system. How can you see it? In terms of the name Shakuhachi, as mentioned above, as for the yellow bell, the middle sound of the flute body is yellow bell, which is the palace sound, which meets the performance needs of the musician. This is self-evident. Another point is that the length of the flute is shorter than that of Wei and Jin flutes and Xun Xu’s Taishi flute.

It is said that the shakuhachi designed by Lu Cai is shorter than the Wei and Jin flutes and the Taishi flute. This can be concluded from the records in the "Song Book". Liehe once said: "The flute in the east chamber of Taiyue has a length of four feet and two inches with the correct sound. The order should be taken back to the lower sound, and the flute with the turbid sound should be longer. Calculate its size to be more than five feet. He It was made in the past and cannot be played. "The annotation of "Book of Song Dynasty" says: "The sound of Taiyue's four-foot-two-inch flute should be played in accordance with the rules of the palace. "Lü Dalu. The length of Dalu flute is unusually two feet and six inches, and it should not be more than five feet long." Here, Lihe points out that a Dalu flute that is more than five feet tall cannot be played. The annotation points out that a Dalu flute that is more than two feet six inches long also explains that a four-foot-two-inch flute is a Ruibin flute. Among the twelve Taishi flutes of Xunxu, the longest is the Ruibin flute. Its length is three feet, nine inches and nine-and-a-half inches, instead of four feet and two inches. This is enough to show that when Xunxu designed the Taishi flute, except for the difference in the position of the sound hole from the Wei and Jin flutes, its length did not change much. It was just that the length was slightly reduced in order to comply with the twelve laws. The shortest of the twelve Taishi flutes is the Zhonglu flute, which is two feet and one inch in length, more than three and three centimeters. The length of the yellow bell flute designed by Lu Cai is one foot and eight inches, even though the yellow bell is twelve feet long. The shortest shakuhachi among them is enough to prove that the twelve shakuhachi are shorter than the twelve Wei and Jin flutes or the Taishi flute. What's more, we still have no basis to say that Huang Zhong is the shortest among the twelve shakuhachi.

The shortened length of the flute undoubtedly makes it easier to play, thereby enhancing the expressive power of the shakuhachi.

(3) The time when the Shakuhachi was introduced to Japan

When the Shakuhachi, this musical instrument in ancient my country, was introduced to Japan, this question is a matter for Chinese and Japanese scholars* **Same concerns. But most people believe that Shakuhachi was introduced to Japan during the Tang Dynasty. The reason is that not only did the name Shakuhachi appear in the Tang Dynasty, but Japan also sent thirteen batches of envoys to the Tang Dynasty from AD 63 to AD 894 (the fourth year of Emperor Zhenguan of the Tang Dynasty to the first year of Emperor Qianning of Emperor Zhaozong of the Tang Dynasty). It seems to be a matter of course that the envoys sent to the Tang Dynasty brought them back to Japan; not to mention that Shosoin still has eight shakuhachi of the Tang Dynasty made of teeth, jade, stone, and bamboo.

However, there is a "flute" in the Horyuji Temple in Japan. The material selection standards and production style of this "flute" are exactly the same as the eight shakuhachi in the Shosoin Temple in Japan. It is said that this flute was played by Prince Shotoku himself. Because the style of this flute is the same as the eight shakuhachi kept in Shosoin, people think it is the shakuhachi; and because Prince Shotoku died in the fifth year of Taketoku, Emperor Gaozu of the Tang Dynasty, Lu Cai designed the shakuhachi earlier than historical records record. era, so some people think that it is not Shakuhachi - Lin Qiansan holds this view. Mr. Yamane Ginji has the following description in his book "History of Japanese Music":

The origin of Shakuhachi is also very ancient. It is said that it was originally imported from China during the Tuigu Dynasty. This is one of the instruments used in gagaku, but the details are of course unknown.

According to historical legend, Prince Shotoku loved this instrument and played it himself; the shakuhachi he used at that time is now secretly hidden in Horyuji Temple. In his "Manuscript of the History of Song and Dance Music", Kiyomizu Konakamura said: "The shakuhachi, which is now in the collection of Yamato Horyuji Temple, is the real thing from that time. When measured with a curved ruler, it is one shaku, four inches and five points. It can be seen that the small ruler of the Tang Dynasty is one "Shakuhachi..." But according to Lin Qiansan, the shakuhachi was an instrument invented by Lu Cai during the Zhenguan period of Emperor Taizong of the Tang Dynasty (627-649 AD); and Prince Shotoku was born here. In the past, Emperor Gaozu of the Tang Dynasty passed away in the fifth year of Wude (622 AD); so the dates are different. Then Prince Shotoku might be using another type of flute. No matter what, it is gratifying that Prince Shotoku, who wholeheartedly admires Chinese culture, can play any kind of imported musical instrument himself. 2

As can be seen from the above quotations, many Japanese experts are trying to confirm that the flute stored in Horyuji Temple is the Shakuhachi of the Tang Dynasty. Therefore, Konokamura Kiyomizu said in his "History of Song and Dance Music": "The shakuhachi, which is now in the collection of Yamato Horyuji Temple, is the real thing at that time. When measured with a curved ruler, it is one shaku, four inches and five points. It can be seen that the small ruler of the Tang Dynasty "It's one shakuhachi"; Yamane Ginji's words also revealed the regret that this flute is not a shakuhachi. It is worth noting here that the research conducted by the Kiyomizu family of Xiaozhongcun that the length of the flute in the Horyu Temple collection is equivalent to "the Tang small ruler is one foot and eight inches" is not very convincing. Because Prince Shotoku was born in 574 (the sixth year of Chen Taijian in the Southern Dynasty of my country) and died in 622 (the fifth year of Emperor Gaozu Takeru of the Tang Dynasty), and was dispatched to the Sui Dynasty three times between 607 and 614, it can be seen that Prince Shotoku The flute used has nothing to do with the Shakuhachi of the Tang Dynasty; if the length of the flute in the Horyuji Temple is indeed consistent with the Tang system, until we have not proved that the measurements of the Tang Dynasty were inherited from the Sui system, it can only mean that this flute was It's a fake. In fact, the flute used by Prince Shotoku is indeed a Shakuhachi. Why? As mentioned above, the shakuhachi is the inheritance and improvement of flutes from the Wei and Jin Dynasties. The name shakuhachi began in the Tang Dynasty, and the "shakuhachi" instrument has long existed. A brief comparison between this flute from the Sui Dynasty and the shakuhachi in the Shosoin collection will suffice to prove this problem.

Please look at the dimensions of Shosoin eight shakuhachi 3:

三sections

Ⅵ

Ⅴ

Ⅳ

Two sections

Ⅲ

Ⅱ

Ⅰ

One section

Full length

Engraved

14

18.7

21.7

25.8

27.5

29.1

32.2

36.5

39.65

43.7

Jade< /p>

11.9

14.85

17.65

21

23.9

24

26.45

29.8

32.35

34.35

Bamboo

12.3

19.45

22.8

24.6

25.6

28.4

31.8

35

38.25

Hua Tang

7.1

16.1

18.75

22.5

24.25

25.3

28.1

32

37.6

38.5

Carved Stone

12.7

14.1

16.35

20

22

22.55

25.2

28.3

33

36.1

11.85

15.05

17.85

20.85

22.5

22.3

25.65

28.65

31.3

35.2

Bamboo

Todaiji Temple

12.1

17.1

19.7

23.3

23.3

26.1

28.9

32.4

34.5

39.3

Bamboo

17.85

17.85

20.7

24.2

24.2

27.1

29.85

33.5

37

40.9

More information on the flute stored in Falun Temple 4:

Three Sections

Ⅵ

Ⅴ

IV

Section 2

Ⅲ

Ⅱ

Ⅰ

One section

Full length

13.2

18.8

22.6

26.5

27.1

29.1

33.7

37.2

38.6

44.4< /p>

Judging from the shakuhachi in the Shoso-in collection and the flutes in the Horyu-ji Temple, except for the different lengths and sound hole positions of each flute, their material selection standards and production techniques are exactly the same.

As mentioned above, the Shakuhachi designed by Lu Cai and the Taishi flute designed by Xun Xu are both improvements on the Wei and Jin flutes. Therefore, in terms of style, whether it is the Wei Jin flute and the Taishi flute, or the Sui Dynasty flute The style of flute or shakuhachi of Tang Dynasty is the same. This proves that the flute played by Prince Shotoku is the same musical instrument as the shakuhachi stored in Shosoin. Our country's shakuhachi instruments were introduced to Japan as late as the Sui Dynasty in the early seventh century.

(4) Evaluation of frequency measurement of shakuhachi stored in Shosoin's collection

Japan's Shosoin collection has eight shakuhachis passed down from the Tang Dynasty in my country. The eight shakuhachi are made of jade, ivory and bamboo respectively. One of them is a shakuhachi made of bamboo. In terms of material, it seems to be very ordinary, but the carving is particularly exquisite. It can be seen that these shakuhachi are definitely not owned by the people. As mentioned above, these eight shakuhachi are exactly the same as the Sui Dynasty flutes secretly stored in Horyuji Temple, both in terms of material selection standards and production techniques. But as for the eight shakuhachi of the Tang Dynasty, its rhythm is obviously not the three-point gain and loss rhythm, and of course it cannot be "in harmony with the rhythm", which obviously does not meet Lu Cai's design requirements. It can be seen that no matter in the Wei, Jin or Sui and Tang dynasties, the musical instruments used in court music did not conform to the law of gain and loss in three points.

The flutes of the Wei and Jin Dynasties did not conform to the three-point law of gain and loss, so Xunxu formulated the flute law and stipulated the production method of Taishi flute that strictly complied with the three-quarter law of gain and loss. Although the temperament of the flute in the Wei and Jin Dynasties is not known today, the production status of the Taishi flute that conforms to the three-point law of gain and loss has been left. In the early years of the Tang Dynasty, Lu Cai designed a shakuhachi that conformed to the twelve laws of Lu for the sake of Zhenggayaku. The details of the shakuhachi designed by Lu Cai are unknown today, but the Sui Dynasty flute stored in Horyuji Temple and the eight shakuhachi from Shosoin can give us an idea of ??the temperament of the instruments used at that time. This matter is undoubtedly of great significance to understanding the production and rhythm of musical instruments in ancient my country.

Regarding the eight shakuhachi stored in Shosoin, the test report of Japanese experts is recorded in "Musical Instruments of Shosoin", including the production specifications and measured results of these eight shakuhachi. frequency, and the fingering used when measuring frequency. The "cross-mouth" fingering (OXXOXX) is undoubtedly the fingering used for playing Dongxiao in modern times, but is slightly different from the modern Dongxiao fingering (OXXOOO). Now the fingering methods used when measuring frequency are listed as follows (X represents the hole that is pressed and closed, O represents the hole that is opened) 6: