Twelve Rhymes - Jyuuniritsu

A note name used in traditional Chinese and Japanese music. According to the Records of the Former Han Dynasty and the Spring and Autumn Annals of the Lü Family, 4,000 years ago, during the reign of Emperor Huangdi, Ling Lun was ordered to make this bell from bamboo from Mount Kunlun. In China, the bells are named after Huang Zhong (黄鯇), Taisoku (大鰇), Jia Zhong (椾鯛), Gusen (槑浆), Churyo (中鯛), Suibin (蕤浆), Lin Zhong (林鯛), Isoku (巷诛), Nanryo (南鯛), Bueki (無影), and Oushou (王尚). In Japan, Kibi no Makibi introduced this in the Gakusho Yoroku in 735 (Tenpyo 7), and from the late Heian period onwards, the names Ichikotsu, Tangin, Hyojo, Shosetsu, Shimomu, Sojo, Fusho, Oushiki, Rankei, Banshiki, Shinsen, and Kamimu were decided based on the names of gagaku tones. The pitch of the fundamental tone is now unified as D, but in the Kamakura period there was also a theory that Oushiki = Kosho and another that Ichikotsu = Kosho, and there are differences in each era. The method of determining this is called the "Sanbun-Sen-en method," which determines the notes that are alternately a fifth above and a fourth below the fundamental tone, and is based on the same principle as Pythagorean tuning. Originally in China, the Huangzhong tuning tube was used not only as a standard for tuning, but also as a standard for tuning and measurement systems based on its length, volume, and the weight of millet that could be contained in it, and was also used in the names of each month, with Taishu being the New Year's Day.

[Yoko Hashimoto]

Source: Shogakukan Encyclopedia Nipponica About Encyclopedia Nipponica Information | Legend

中国、日本の伝統音楽で用いられる音名。『前漢志』や『呂氏春秋(りょししゅんじゅう)』には、4000年前黄帝の代に、伶倫(れいりん)が命を受け昆崙山(こんろんざん)の竹でつくったという。中国では黄鐘(こうしょう)を基音として大呂(たいりょ)、太簇(たいそく)、夾鐘(きょうしょう)、姑洗(こせん)、仲呂(ちゅうりょ)、蕤賓(すいひん)、林鐘(りんしょう)、夷則(いそく)、南呂(なんりょ)、無射(ぶえき)、応鐘(おうしょう)である。日本では735年（天平7）吉備真備(きびのまきび)がこれを『楽書要録』で伝えたのち、平安時代後期より雅楽調名に基づいて、壱越(いちこつ)、断金(たんぎん)、平調(ひょうじょう)、勝絶(しょうせつ)、下無(しもむ)、双調(そうじょう)、鳧鐘(ふしょう)、黄鐘(おうしき)、鸞鏡(らんけい)、盤渉(ばんしき)、神仙(しんせん)、上無(かみむ)の名称が決められた。基音の音高は現在D音で統一されるが、鎌倉時代には黄鐘(おうしき)＝黄鐘(こうしょう)説と、壱越＝黄鐘(こうしょう)説もあり、各時代に異同がある。その求め方は三分(さんぶん)損益法と称し、基音から交互に5度上の音と4度下の音を定めるもので、ピタゴラス音律と同一の原理である。元来中国では、音律の基準だけでなく、黄鐘の律管の長さ、容積、入りうるキビの重さをもって律度量衡(りつどりょうこう)の基準ともされ、また太簇を正月として各月の名称にも使われた。

［橋本曜子］

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