中央研究院歷史語言研究所

Asia Major

The Wa–Kan Configuration of Music Culture in Heian (794–1185) Japan: The Case of Chinese Music Theory

作　　者：
Kwok-wai Ng
期別頁碼：
33.1：33-63
出版時間：
2020
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摘要

This article examines Chinese music theory as utilized in Japan during the Heian period; it scrutinizes that system' s intricate configuration of Wa (Japanese) and Kan (Chinese) materials. Previous scholarship has yielded findings with significant implications for both the development and analysis of this Wa-Kan assemblage as it occurred in different aspects of Heian culture, but the assimilation of specifically Chinese music theory has not been investigated from this perspective. The present article describes how, through applying different types of conceptual frameworks in the discourse of the assimilation of Chinese music theory in Japan, Heian music culture exhibited a highly complex integration of Wa and Kan materials, which coexisted in both the theoretical and practical territories.

關鍵詞

Chinese music theory, Heian music culture, Wa-Kan assemblage, Tōgaku, Kuchizusami, Sango yōroku

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脚注

Kwok-wai Ng, “The Wa–Kan Configuration of Music Culture in Heian (794–1185) Japan: The Case of Chinese Music Theory,” Asia Major 33 (2020): 33-63.

参考文献

Ng, Kwok-wai

2020　“The Wa–Kan Configuration of Music Culture in Heian (794–1185) Japan: The Case of Chinese Music Theory.” Asia Major 33: 33-63.

Ng, Kwok-wai. (2020). The Wa–Kan Configuration of Music Culture in Heian (794–1185) Japan: The Case of Chinese Music Theory. Asia Major, 33, 33-63.

Ng, Kwok-wai. “The Wa–Kan Configuration of Music Culture in Heian (794–1185) Japan: The Case of Chinese Music Theory.” Asia Major, no. 33 (2020): 33-63.

Ng, Kwok-wai. “The Wa–Kan Configuration of Music Culture in Heian (794–1185) Japan: The Case of Chinese Music Theory.” Asia Major, no. 33, 2020, pp. 33-63.

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