SİYASİ REFORMDAN MÜZİK REFORMUNA
GAGAKU TÜRLERİ
AKTARIM, ÇÖKÜŞ VE CANLANMA
MODERN İCRA VE YENİDEN YAPILANDIRMA
NOTLAR
1 Çin ve Japonya Sinosferik ülkelerdir, ikisi de Çince karakter kullanır, ancak çağdaş dönemde alfabeler farklılaştırılmıştır. Bu yazıda, söz konusu farklılıklar gözardı edilerek geleneksel Çince karakterler kullanılmıştır.
2 Frances Wood, The Silk Road: Two Thousand Years in the Heart of Asia. University of California Press, s. 11.
3 Rebekah Ahrendt, Mark Ferraguto ve Damien Mahiet, ed., Music and Diplomacy from the Early Modern Era to the Present. Springer, 2014, 85.
4 Edward H. Schafer, The Golden Peaches of Samarkand: A Study of T’ang Exotics. University of California Press, 1963, s. 2-4.
5 Heng Zhong, Yu Mei Cui, Nichi D’Amico, “East End of ‘Silk Road’—‘Shoso-in’ of Japan,” Advanced Materials Research, Trans Tech Publications, 2011, s. 420-424.
6 Xiaodun Wang (王小盾), “Compendium of Foreign Musical Bibliography in Chinese Language: Japan (域外汉文音乐文献述要 (中)棗日本篇),” Chinese Musicology (中国音乐学) 3 (2012): 50-61.
7 Naoko Terauchi (寺内直子), “The Japanese Cultural Policy and International Communication: Through Japan-Korea Communicative Concert of Court Music in 2002 日本の文化政策と国際交流: 2002 年日韓宮中音楽交流演奏会を通して,” Research of International Studies: Compendium of Kobe University Department of International Cultural Studies 国際文化学研究: 神戸大学国際文化学部紀要 18 (2002): 55-63.
8 Steven G. Nelson, “Court and Religious Music (1): History of Gagaku and Shōmyō,” The Ashgate Research Companion to Japanese Music, Routledge, 2008, s. 61-74.
9 Wei Zhao (趙維平), “The Gagaku Flows in East Asia (東アジアにおける雅楽の流れ),” International Centre of Japanese Studies (国際日本文化研究センター) 6 (2010).
10 Allan Marett, “Tōgaku: Where Have the Tang Melodies Gone, and Where Have the New Melodies Come from?” Ethnomusicology (1985): 409-431.
11 Yukari Kon (今由佳里), “A Preliminary Study of Traditional Music ‘Gagaku’ in Music Education in Japan (研究ノート: 学校音楽教育における 「雅楽」 の扱いに関する基礎的研究),” Research Compendium of Kagoshima University Department of Education, Education Science (鹿児島大学教育学部研究紀要. 教育科学編) 62 (2011): 71-80.
12 Nelson, age.
13 Ke Liu (刘轲), “The Formation of Japanese Gagaku, its Acceptance and Transmission of Yanyue in Tang China (日本雅乐的形成及对中国唐代燕乐的接纳与变迁),” Tez, Shanghai Conservatory of Music, 2008.
14 Kunio Nagatomi (永富邦雄), “The History of Kimigayo, the History of Music (君が代の歴史–音楽の歴史),” The Journal of Japanese Industrial Association (日本工業倶楽部会報) 231 (2009): 29-34.
15 Zhongli Ma (马忠理), “Questions of ‘Lanlingwang Ruzhenqu’ (《兰陵王入阵曲》疑释),” Springs and Autumns of Artefacts (文物春秋) 1 (1995): 30, 54-62.
16 Sylvain Lévi, Takakusu Junjirô, Paul Demiéville, Hôbôgirin (法寶義林): dictionnaire encyclopédique du bouddhisme d’après les sources chinoises et japonaises. Tokyo: Maison Franco-Japonaise, 1929, s. 153.
17 納蘇利, Çince yazılışının hiçbir anlamı yoktur, büyük ihtimalle transliterasyondur.
18 Lee Megumi (李恵求), “Discourse on ‘Nasuri’ 納曾利考,” Tōyō Music Research 東洋音楽研究 18 (1965): 235-242.
19 Osamu Yamaguchi, “Musics of Northeast Asia,” Music Educators Journal 59/2 (1972): 30-34.
20 Carl Wolz, “Dance in the Noh Theatre,” The World of Music 17/3 (1975): 26-32.
21 Masayoshi Wakafuji (若藤正芳), “The World of Japanese Art’s Creation Concept: Jo-ha- kyū, the central point of Shinsō Gōshō (日本芸道にみる”創作理念”の世界 -序破急・真行草を中心に),” Research Bulletin (研究紀要) 16 (1984): 21-67.
22 Kon, age.
23 Yunzi Fu (傅芸子), “Discourse on Bugaku ‘Ranryoō’ (舞乐《兰陵王》考),” Baichuan Collection (白川集), Shenyang: Liaoning Educational Press (沈阳: 辽宁教育出版社), 2000, s. 76.
24 Puguang Gu (顾朴光), “New Discourse on Bugaku ‘Ranryoō’ (舞乐《兰陵王》新考),” Journal of Guizhou Minzu University: Social Science (贵州民族学院学报 (社会科学版)) 3 (1991): 58-66.
25 Zhao Aifang (赵爱芳), Wu Xiaoling (吴晓玲), Liucong Ying (刘聪颖), “Lanlingwang Ruzhenqu and Prime Ritual Music and Dance (《兰陵王入阵曲》与原始乐舞),” Journal of Handan College (邯郸学院学报) 22 (2012): 48-50.
26 Zhou Huabin (周华斌), “Japanese Bugaku ‘Ranryoō’ is from China – Discourse on Bugaku Masks (日本舞乐《兰陵王》源于中国棗兼考《兰陵王》舞乐面具),” Drama: Journal of Central Academy of Drama (戏剧: 中央戏剧学院学报) 2 (1995): 74-82.