Ming and Qing music

Chinese folk music that was introduced to Japan after the end of the Ming dynasty. Originally, Ming music and Qing music were different kinds of music, and were introduced at different times and under different circumstances, but in Japan, both are collectively referred to as "Ming and Qing music." Even after the tradition of Ming music declined, some of its compositions were absorbed into Qing music, and this type of Qing music is usually referred to as "Ming and Qing music." Ming and Qing music, which became popular as home music during the Meiji period, mainly refers to the latter.

Ming music was introduced by the Ming Dynasty man Wei Zhiyan (who later became a Japanese citizen and took the name Oga) who came to Nagasaki in the early Edo period. Zhiyan's great-grandson Wei Hao went to Kyoto at the end of the Horeki era (1751-64) and is said to have taught Ming music to over 100 disciples. However, Ming music did not gain much popularity among the general public and rapidly declined with the introduction of Ching music, with only some pieces such as "Akifuji" barely being absorbed into Ching music. Meanwhile, Ching music was introduced by the Chinese man Kin Kinko and others who also came to Nagasaki during the Bunsei era (1818-1830), and was enjoyed by well-known figures such as Watanabe Kazan. Hirai Renzan (1798-1886), who was later active in Osaka, was from this lineage. Separately, in the early years of the Tenpo era (1830-1844), the Qing dynasty Hayashi Tokuken came to Nagasaki and taught Qing music to Egawa Shungyo and others, and this lineage became widely popular in Edo at the end of the Edo period.

Although both Ming music and Qing music are centered on vocal music, there are many types of instruments used in them, with 11 types in Ming music and 17 types in Qing music. The gekkin of Qing music is the most popular instrument, and a considerable number of musical scores for this instrument have been published. Of the more than 200 large and small pieces of Qing music repertoire, pieces such as "Sanmeikyoku," "Kyurenkan," and "Matsurika" were widely sung at the time. However, Qing music, which once played a part as home music along with Japanese and Western music during the Meiji period, rapidly declined after the Sino-Japanese War, and today only a few repertoire pieces are handed down in Nagasaki Prefecture.

[Yuko Chiba]

Source: Shogakukan Encyclopedia Nipponica About Encyclopedia Nipponica Information | Legend

明代末期以降、日本に伝えられた中国の民間音楽。元来、明楽と清楽は別種の音楽であり、伝来の時代も経緯も異なるが、日本では両者をあわせて「明清楽」と称している。また明楽の伝承が衰えたあとでも、その楽曲の一部は清楽のなかに吸収されており、こういった清楽も普通「明清楽」と称する。明治期に家庭音楽として流行した明清楽は、おもに後者のほうをさす。

　明楽は、江戸時代初期に長崎へ渡来した明人魏之琰(ぎしえん)（のち日本へ帰化して鉅鹿(おおが)氏を名のる）によって伝えられた。之琰の曽孫(そうそん)の魏皓(ぎこう)は宝暦(ほうれき)（1751～64）末年に京都へ上り、明楽を教授して百余名の門弟を得たといわれる。しかし明楽は一般にはあまり普及せず、清楽の伝来とともに急速に衰えて、『秋風辞』など楽曲の一部がかろうじて清楽に吸収されるにとどまった。一方、清楽は文政(ぶんせい)年間（1818～30）に、やはり長崎へ渡来した清人金琴江らによって伝えられ、渡辺崋山(かざん)などの知名人もこれをたしなんだ。のちに大坂で活躍した平井連山(れんざん)（1798―1886）はこの系統の出である。これとは別に、天保(てんぽう)（1830～44）初年に清人林徳健が長崎に渡来して、穎川春漁(えがわしゅんぎょ)らに清楽を伝授し、この系統は幕末の江戸に広く普及した。

　明楽も清楽も声楽中心ではあるが、そこで用いられる楽器の種類は数多く、明楽では11種、清楽では17種が用いられている。なかでも清楽の月琴はもっとも普及した楽器で、この楽器のための楽譜類も相当数出版されている。清楽の大小200曲余のレパートリーのうち『算命曲』『九連環(きゅうれんかん)』『抹梨花(まつりか)』などは、当時広く愛唱されたものである。しかし、明治の一時期には邦楽、洋楽とともに家庭音楽としての一翼を担っていた清楽も、日清戦争以後急速に衰えて、現在長崎県にレパートリーのいくつかが伝承されているにすぎない。

［千葉優子］

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