A Brief Study Of Extant Scores Of Se

Se and Qin are Chinese ancient stringed instruments that were veryimportant in the ancient Chinese music culture and life. At present, related researches ofthis field are trend to focus on the Qin. By contrast, researches about Se are less and alsonot comprehensive. Based on the Se scores that are included in The log of Chinese musicbook and scores:from the Qin dynasty to1949, revised and enlarged edition, I started toconsult relevant materials such as ancient books of domestic libraries. By far I’ve foundthat there are17volums about the Se.Four of them are instrument expound withoutscores,two of them are just exposition.The rest of them are essemble scores. And thereare three scores with Se pu by Houying Zhu,Shi yue tu pu by Nan Lv and Se pu byRuguang Zhang was not been included in The log of Chinese music book andscores:from the Qin dynasty to1949,revised and enlarged edition.On this basis, Iclassified the ancient books which I collected.The text is divided into five chapters. The first chapter is the brief overview aboutthe structure of Se which is based on literatures and archaeological excavations orderedby dynasties. According to the number of strings, there are eleven kinds ofSe:54,5,7,19,21,23,24,25,36,45,50. And there are seven kinds of Se string of18,19,21,23,24,25,26from the unearthes clutural relics. Both of them, the kinds of25stringsbe in the majority. The second chapter is the exposition and analysis of the survivingscores I was collected, divided into three parts: the books recording the score, the bookswithout recording the score and the ensemble music book. The third chapter isdiscussing two points about proofreading the strings of Se and the column of Se. Thereare five theories about proofreading the strings of Se: firstly, the middle string is not toplay, other strings as two groups in side; secondly, the middle string is not to play, otherstrings as two groups in side, and adjacent strings play the same pitch; thirdly, all thestrings were played, every five strings as a groups; fourthly, proofreading the strings bythe fourteen temperament; lastly, all the strings need to play, the13th string names thehigh pitch calculation of Huang-zhong, and the25th string names the polar altitude pitchcalculation of Huang-zhong. Regarding to the columns, there are four positions of Sefrom the literature and excavations: firstly, in the unearthed cultural relics, twenty-fivestrings as three groups; secondly, oblique one by Chinese word alignment, thirdly,oblique to five of one by Chinese word alignment; fourthly, twenty-five strings dividedinto two groups, the middle string didn’t use the column, and two groups oblique to two of one by Chinese word alignment. The fourth chapter is the string measurement,according to research of string measurement of Qin, I discussed the string measurementof Se form the literature, partition into three parts of just intonation, circle of fifths andfourteen temperament by Kangxi. The fifth chapter is translating the ancient scores; Iselect five scores with Se pu by Penglai Xiong,Shi yue tu pu by Nan Lv,Qin se he bi byChengdu Fan and He Wan,Qin se he pu by Rui Qing,and Qin se he pu by Zongji Yang totranslate, and analyzed the tonic and modes of the scores.