卷末: 李廷龜謹跋. 樂書廳提調韓應寅[等諸臣銜名]; 刊記: 萬曆三十八年(1610)庚戌仲秋日.
四周雙邊; 匡郭 26.6 x 18.3 cm.; 有界; 11行; 上下三葉花紋魚尾.
Online at Internet Archive Asami Collection.
Local access dig.pdf [Akhak kwebom 1-2]

Abstract sub-title varies from t.p.: From Ut Re Mi to Fourteen-Tone Temperament: the Global Acoustemologies of an Early Modern Reform to Chinese Musical Tuning.

Abstract
This dissertation examines what is commonly known as the Kangxi Emperor (r. 1661-1722)’s fourteen-tone temperament, a 1714 reform to Chinese musical tuning that effectively uses the familiar Pythagorean proportions to divide the octave into fourteen parts. Besides examining the ideological and cultural contexts of the tuning reform and orrecting many longheld misconceptions, I argue that the reform largely resulted from an epistemological shift that rearticulated the empirical process of sounding and listening vis-à-vis the historicist studies of texts and records in producing musical knowledge. Besides examining it in the context of traditional Chinese scholarship, I shed particular light on the transregional and even global scale of this shift. I argue that the series of experiments and studies on which the fourteen-tone temperament was based took place within the specific political structures of the Qing Empire (1636-1912) as a conquest regime that subjugated China under its minority Manchu ruling class. I also show that the shift was itself inspired by a global exchange of musical knowledge, in which the concept of octave equivalence in Western music theory was misunderstood yet appropriated to advocate an empirical term in music theory and a reform to Chinese opera, both in turn harnessed for Qing-imperial ideological purposes. What is more, by comparing the fourteen-tone temperament to roughly contemporary discourses on texts vs. sounds, writing vs. speech, and historicism vs. empiricism, both within the Qing Empire and beyond, I argue that the Qing’s reform to musical tuning, despite its apparent parochialism, potentially reflected a much broader transformation that took place on a global scale, or what I call the “Phonological Revolution.” In concluding this dissertation, I make a case for further examining how seemingly discrete rearticulations of the relation between historicism and empiricism across different discourses and praxes of language, music, writing, and songs may reveal a coeval and coconstitutive epistemological shift on a global scale in the early modern world.

Keywords: tuning, history of music theory, Qing Empire, global music history, acoustemology, Phonological Revolution.

Local access dig.pdf. [Hu-Acoustemologies China.pdf]

Gakufu no rekishi 楽譜の歴史 / Minagawa Tatsuo 皆川達夫

Includes bibliographical references (p. 80).