S. B. Lupinos
Price: 50 руб.
DOI:
https://doi.org/10.25807/PBH.22225064.2019.48.39.47
When studying the mode acoustic system of the palace ritual music of
medieval China, Korea, and Japan, one reveals the identity of the hiero-
glyphic terminology with that of the treatises Lь-lь Hsinshu (12th Cent),
Akhak kwebŏm (15th Cent), Gakkaroku (17th Cent.) Basing on a number
of approaches: the structured and systematicone, the historico-genetic
one, and the typological one, the author identifi es a close functional
relationship between the kinds of palace ritual music of the States of the
Far Eastern cultural-historical region, the latter being often referred to
as the “area of hieroglyphic culture”. They share a wide range of envi-
ronmental and economic activities based at the time of the appearance of
those treatises on neo-Confucian ideology, which was a synthesis of the
previous ideological beliefs and traditional model/traditional worldview
(TMW/TWV).This fact explains the archetypical identity of the mode
acoustical terminology of the treatises discussed here.
Keywords: East Asia historico-cultural region, palace ritual music culture, treatise
literature, mode acoustic terminology.
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