The YuelunZhushu (Commentary and Annotations on the Treatise of Music) is an academic work meticulously compiled by the Tibetan Sakya scholar Amisha (Ami Gongga Sonam Zhabachen) on the classical Tibetan music theory text Yuelun, authored by Sakya Pandita. Amisha, the 26th Chiba Dharma King of Sakya Monastery, was renowned for his profound knowledge, particularly in the Five Sciences, and his expertise in music theory. In this scholarly piece, Amisha offers a thorough and detailed commentary on Yuelun, providing line-by-line annotations that help future scholars better understand and delve into the essence of the work. At present, research in China tends to focus on YuelunZhushu as a “reference tool” for interpreting Yuelun itself, and significant progress has been made in translating this text. However, in comparison to its far-reaching value, studies examining the intrinsic value of YuelunZhushu remain insufficient, failing to fully highlight its importance in musical practice. Research on YuelunZhushu is often conducted under the shadow of Yuelun, thus limiting its recognition as an independent academic work. This paper explores the profound influence of YuelunZhushu on Chinese ethnic vocal music, particularly in the development and transmission of Tibetan vocal music, emphasizing its pivotal role in promoting these art forms.
References
[1]
Chang, L. Z. (2005). Tibetan Folk Songs and Their Vocal Techniques. Chinese Music, No. 4, 96.
[2]
Gongga Sonam Zhabajianzan, A., & Zhao, K. (1993). One of the Five Branches of the Illumination—Commentary on Yue Lun and the Joy of Manjusri’s Teacher: The Illumination of Wisdom and Virtuous Works. Tibetan Art Research, No. 2, 18-24.
[3]
Li, M. X., & Zou, W. Q. (2021). Exploration of the Ethnic Concept in Vocal Music Teaching Practice. Journal of Nanning Normal University (Philosophy and Social Sciences Edition), 42, 94-107.
[4]
Liao, J. (1988). On the Development of Musical Creativity. People’s Music, No. 6,30.
[5]
Liu, S. (2023). A Brief Analysis of the Importance of Aesthetic Imagination in the Performance of Vocal Works: A Case Study of the Art Song “The Bird Sings in the Wind.” Art Review, No. 20, 50.
[6]
Liu, X. (1989). Wenxin Diaolong: The Knowledge of the Listener. Zhejiang Education Press.
[7]
Ma, F. (2024). The Use of Body Movements in Erhu Performance in Musicals. Chinese Musicals, No. 3, 90.
[8]
Qiao, J. (2009). Land and Song: A Study of Traditional Music Culture and Its Geographical and Historical Background. Shanghai Music Publishing House.
[9]
Wu, Z., Yi, H., Zhao, K., Gu, Z., & Ji, L. (2011). Selected Readings on Ancient Chinese Music Theory. People’s Music Publishing House.
[10]
Zhang, H. (2024). Analysis of Performance Techniques and Stage Presentation in Vocal Performance art. Mass Art, No. 10, 50.
[11]
Zhang, X. L. (2003). A Tentative Discussion on the Use of Body Language in Piano Teaching. Piano Art, No. 4, 40.
[12]
Zhao, K. (1989). Yue Lun. Journal of Central Conservatory of Music, No. 4, 23-30.