The presence and absence of female musicians and music in China

Women and Confucian Cultures in Premodern China, Korea, and Japan

Volumn , Issue , 2003, Pages 97-120

  Lam, Joseph S C ^a  

^a UNIVERSITY OF MICHIGAN   (United States)

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EID: 84887676274     PISSN: None     EISSN: None     Source Type: Book    
DOI: None     Document Type: Chapter

References (54)

1. Confucius: The Analects, trans. D. C. Lau (London: Penguin, 1979), pp. 133-34, 149.
2. For a discussion of the historiographic issues of Chinese women's history, see Susan Mann, Precious Records: Women in China's Long Eighteenth Century (Stanford: Stanford University Press, 1997), pp. 1-18, 201-26; Patricia Buckley Ebrey, The Inner Quarters: Marriage and the Lives of Chinese Women in the Sung Period (Berkeley: University of California Press, 1993), pp. 1-20. For samples of musicological discussions, see Carol Robertson, "Power and Gender in the Musical Experiences of Women," in Musicology and Difference, ed. Ellen Koskoff (Urbana: University of Illinois Press, 1987); Ruth Solie, Musicology and Difference: Gender and Sexuality in Music Scholarship (Berkeley: University of California Press, 1993); Mu Yang, "Music and Sexual Customs in Multi-Ethnic China," Asian Studies Review 18, no. 2 (1994): 63-144; Nora Yeh, "Wisdom of Ignorance: Women Performers in the Classical Chinese Music Traditions," in Women, Gender, and Culture, ed. Marcia Herndon and Susanne Ziegler (Wilhelmshaven: Florian Noetzel Verlag, 1990); and Su Zheng, "Female Heroes and Moonish Lovers: Women's Paradoxical Identities in Modern Chinese Songs," Journal of Women's History 8, no. 4 (1997): 91-125.
3. "Yueji," in Liji, in Baihua shisanjing (The Thirteen Classics, with vernacular translation) (Beijing: Guoji wenhua chuban gongsi, 1996). "Yueshu," in Sima Qian, Shiji (Beijing: Zhonghua shuju, 1962). The modern reprint used by the present author is Yuejipiz.hu (The record of music, annotated edition) (Beijing: Renmin yinyue chubanshc, 1976). A convenient collection of Chinese reference materials is Yueji lunbian (The record of music, with critical translations and comments) (Beijing: Renmin chubanshe, 1983). For an introduction in English, see Scott Cook, "Yueji-Record of Music: Introduction, Translation, Notes, and Commentary," Asian Music 26, no. 2 (1995): 1-96.
4. For an introduction in English, see Scott Cook, "Yueji-Record of Music: Introduction, Translation, Notes, and Commentary," Asian Music 26, no. 2 (1995): 1-96.
5. Ji Liankang, ed., Qin Han yinyue shiliao (Music sources of the Qin and Han dynasties) (Shanghai: Shanghai Wenyi chubanshe, 1981), pp. 61-62, 81-82. The Offices of Zhou, also known as the Rites of ZJiou, is a description of the administrative structures of the royal state of Zhou. 5. Suishu (Beijing: Zhonghua shuju, 1975), 13.3286.
6. "Yueben bian," in Yuejipi/Jiu, p. 7.
7. "Yueli bian," in Yuejipizhu, p. 23.
8. "Yueyan bian," in Yueji pizhu, p. 39.
9. "Wei Wenhou bian," in Yueji pizhu, p. 60.
10. Chengjunying, Shijingyizhu (Book of odes, with translations and annotations) (Shanghai: Guji chubanshe, 1985), pp. 149, 153. What these images signify is a vexing question. Some Confucian scholars explained the images away as sheer allegories, reading the amorous relationship between man and woman as an allegory for intimacy between ruler and subject. The purpose here, however, is not Odes hermeneutics but retrieving hints of female music. 12. Ji Liankang, ed., Chunqiu zhanguo yinyue shiliao (Music sources of the Spring and Autumn and Warring States periods) (Shanghai: Wenyi chubanshe, 1980), pp. 2-3, 13-14.
11. Ji Liankang, ed., Liishi chunqiu zjiong diyinyue shiliao (Music sources in the Spring and Autumn of Master Lii) (Shanghai: Wenyi chubanshe, 1983), p. 34.
12. "Tang wen," Liezhiyizhu, annotated by Yang Beiming and Yangjie (Shanghai: Guji chubanshe, 1986), pp. 127-28.
13. Fengsu tongyi jiaozhu, annotated by Wang Liqi (Beijing: Zhonghua shuju, 1981), PP- 592-93- 18. Ji, Qin Hanyinyue, p. 2.
14. Ji, Qin Hanyinyue, p. 2.
15. Analects, pp. 93, 67.
16. Kongzi jiayu (The school sayings of Confucius) (Beijing: Yanshan chubanshe, 1995), p. 210.
17. Analects, p. 71.
18. This interpretation follows the premises stated in the "Yueben pian" and "Yueli pian" of the document (Yuejipiz.hu, pp. i-12, 20-25). For other interpretations, see Yang Yinliu, Zhongguo gudaiyinyue shigao (Draft history of ancient Chinese music) (Beijing: Renmin yinyue chubanshe, 1981), pp. 88-92, 133-37; and "Yueji," in ZJiongguoyinyue cidian (Dictionary of Chinese music) (Beijing: Renmin yinyue chubanshe, 1985), pp. 481-82.
19. Yuejipizhu, p. 33.
20. One gentry daughter who learned the jz«-zither from her father was Chai Jingyi
21. See Dorothy Ko, Teachers of the Inner Chambers: Women and Culture in Seventeenth-Century China (Stanford: Stanford University Press, 1994), p. 244.
22. Shizong shuhuangdi shilu (Veritable records of Emperor Shizong) (Taipei: Academica Sinica, 1962-67), n8.3b.
23. Analects, p. 89.
24. Hanshu (Beijing: Zhonghua shuju, 1975), 43-565
25. Ji, Qin Hanyinyue, pp. 65-70.
26. There is no theoretical discussion on the musical female voice in China; for discussions of the literary voice, see Maureen Robertson, "Voicing the Feminine: Constructions of the Gendered Subject in Lyric Poetry by Women of Medieval and Late Imperial China," Late Imperial China 13, no. i (June 1992): 64-110.
27. Chen Yang, Tueshu, Siku quanshu edition, 90.43. See also the entry "niijue," Zhongguo yinyue cidian, p. 288.
28. Ji, Qin Hanyinyue, pp. 99-100, 103.
29. Wang Liqi, ed., Yuan Ming Qing sandaijinhui xiaosuo xiqu shiliao (Forbidden and destroyed sources of fiction and theater of Yuan, Ming, and Qing, expanded ed.) (Shanghai: Guji chubanshe, 1981), p. 256.
30. Xia Tingzi, Qinglouji, in Zhongguo gudian xiqu lunz.hu jicheng (Collected works on the Chinese classical theater) (Beijing: Zhongguo xiju chubanshe, 1959), p. 3.
31. Songshi (Beijing: Zhonghua shuju, 1977), 126-131.2937-3066; Mingshi (Beijing: Zhonghua shuju, 1974), 62.1519-57. For a survey of other Ming music treatises crucial to the development of the proper music tradition, see Joseph S. C. Lam, "Creativity withinBounds: State Sacrificial Songs from the Ming Dynasty," (Ph.D. dissertation, Harvard University, 1988), pp. 662-702.
32. For a survey of other Ming music treatises crucial to the development of the proper music tradition, see Joseph S. C. Lam, "Creativity withinBounds: State Sacrificial Songs from the Ming Dynasty," (Ph.D. dissertation, Harvard University, 1988), pp. 662-702.
33. For reference tofangzhongyue, see Zhu Zaiyu, Tuexue xinshuo, in Tuelu quanshu (Collected works of music theory), in Shangwu guoxuejiben congshu (The Commercial Press collectanea in Sinology) (Taipei: Shangwu yinshu guan, 1968), p. 62. For Zhu's biography and works, see Dictionary of Ming Biography, ed. L. Carrington Goodrich and Chaoying Fang (New York: Columbia University Press, 1976), s.v. "Chu Tsai-yu"; and Fritz A. Kuttner, "Prince Chu Tsaiyu's Life and Work: A Re-evaluation of His Contribution to Equal Temperament Theory," Journal of Ethnomusicology 19 (1975): 163-204. For a general survey of Ming music theory, see Joseph Lam, State Sacrifices and Music in Ming China: Creativity, Orthodoxy, and Expressiveness (Albany: State University of New York Press, 1998), pp. 75-97.
34. Zhu Zaiyu, Liilujingyi neibian, Tuelii quanshu, 6.173.
35. Shen Defu, Wanliyehuo bian (Miscellaneous notes of the Wanli period) (Beijing: Zhonghua shuju, 1959), p. 647.
36. Li Kaixian, Cixue (Discourse on song lyrics), in ZJumgguo gudian xiqu lunz.hu jicheng (Beijing: Zhongguo xiju chubanshe, 1959), p. 287.
37. Lam, State Sacrifices and Music, p. 72.
38. Xu Wei, Nanci xulu (An account of southern dramas), in Zhongsuo gudian xiqu lunz.hu jicheng (Beijing: Zhongguo xiju chubanshe, 1959), pp. 239, 243.
39. Chen Tian, ed., Mingshijishi (Anthology of Ming poetry, with historical notes) (Shanghai: Guji chubanshe, 1993), 8.1526. See also Paul Ropp, "Love, Literacy, and Laments: Themes of Women Writers in Late Imperial China," Women's History Review 2, no. i (1993): 107-41.
40. Shen, Wanliyehuo bian, p. 597.
41. Jinpingmei cihua, fasimile of Wanli ed. (Hong Kong: Taiping shuju, 1982), ao.ioa-b. For an excellent English translation of the first twenty chapters, see Xiaoxiaosheng, The Plum in the Golden Vase, vol. i, trans. David Tod Roy (Princeton: Princeton University Press, 1993); The Plum in the Golden Vase, vol. 2, The Rivals (Princeton: Princeton University Press, 2001). 55. Jinpingmei, 27.63-6.
42. For a discussion of female hierarchies, see Francesca Bray, Technology and Gender: Fabrics of Power in Late Imperial China (Berkeley: University of California Press, 1997), pp. 351-68. On female jealousy, see Ko, Teachers, pp. 103-12.
43. Jinpingmei, 38.ga-ioa. 58. Wang Tingshao, Nichang xupu, in Ming Qing mmge shidiaoji (Shanghai: Guji chubanshe, 1987), 4.103.
44. Feng Menglong, Jiazkutao, in Ming Qing minge shidiaoji (Shanghai: Guji chubanse, 1987), i.22b-23a.
45. For family troupes, see Hu Ji and Liu Zhizhong, Kunju fazhanshi (History of Kun opera) (Beijing: Zhongguoxiju chubanshe, 1989), pp. 188-224
46. Lu Eting, Kunjuyanchu shigao (Draft history of Kun opera performances) (Shanghai: Wenyi chubanshe, 1980), pp. 116-32, I55-69- 61
47. For female troupes, see Hu and Liu, Kunju, pp. 195, 200.
48. Qjan Qianyi, Liechao shiji xiaochuan (Shanghai: Gudian wenxue chubanshem 1957), pp. 745- 46, 765-67, 773; Paul Ropp, "Ambiguous Images of Courtesan Culture in Late Imperial China," in Writing Women in Late Imperial China, ed. Ellen Widmer and Kang-i SunChang (Stanford: Stanford University Press, 1997). Kang-i Sun Chang has argued persuasively that the chapter on female poetry in this anthology was edited by Qian's concubine, Liu Shi, a former courtesan and famous poet. See her "Ming and Qing Anthologies of Women's Potery and Their Selection Strategies," in Widmer and Chang, eds., Writing Women.
49. Yan Ming, Zhongguo mingjiyishushi (History of the arts of famous courtesans) (Taipei: Wenjin chubanshe, 1992), pp. 108-14, 119-23.
50. Ji, Qin Hanyinyue, p. 156.
51. Duan Anjie, Tuefu zalu (Miscellaneous notes of music and musicians), in Zhonggiw gudian xiqu lunzhujicheng (Beijing: Zhongguo xiju chubanshe, 1959), p. 47.
52. Liu Yin, Sun Anbang, and Pan Shen, eds., Lidai mingji shiciqu sanbaishou (Three hundred poems by famous courtesans of past dynasties) (Taiyuan: Shanxi renmin chubanshe, r992), P- 32- 67. This is deduced from a poem entitled "Guo chuihong": "Softly Xiaohong sings as I play the flute" (Xiaohong dichang wo chuixiao). Xia Chengtao, ed., Baishi shiciji (Beijing: Renmin wenxue chubanshe, [1959] 1998), p. 46.
53. See Zhongguo yinyue shupuzhi (Bibliography of Chinese music books and notated sources) (Beijing: Renmin yinyue chubanshe, 1984), currently the most comprehensive catalog of Chinese musical sources.
54. For a discussion of arias for male and female roles in Peking opera, see Liu Jidian, Jingjuyinyue gailun (Introduction to the music of Peking opera) (Beijing: Renmin yinyue chubanshe, 1981), pp. 136-40.