音楽の歴史とその記録方法
- 1人の目撃者、セント John は、良い音楽と有害な音楽を区別する際に、プラトンの後を追いました ： 「みだらな歌を紹介する悪魔がすべてを倒すことがあってはならないので、喜びと利益を提供するために、神は聖歌を確立しました。」
- これらの考えとギリシアの音楽理論の詳細な説明はBothiusの論文”De instiutione musica”(Musicの原理)を中世の音楽家にとって、主要な権威にしました。
- 彼の時間までに、フランスから日本までのユーラシアの人々が音楽を書き留めるより良い方法を見つけていた。
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自分でやってみたのですが、上手くまとまらなかったのと自信もないので、直していただけると嬉しいです。 (1)One witness, St John , followed Plato in distinguishing between good and harmful music: "Lest demons introducing lascivious songs should overthrow everything, God established the psalms, in order that they might provide both pleasure and profit." 1人の目撃者、セント John は、良い音楽と有害な音楽を区別する際に、プラトンの後を追いました ： 「みだらな歌を紹介する悪魔がすべてを倒すことがあってはならないので、喜びと利益を提供するために、神は聖歌を確立しました。」 (2)These ideas, and a detailed account of Greek musical theory, made Bothius's treatise [De instiutione musica]（Fundamentals of Music） the principal authority for medieval musicians. これらの考えとギリシアの音楽理論の詳細な説明はBothiusの論文”De instiutione musica”(Musicの原理)を中世の音楽家にとって、主要な権威にしました。 (3)By his time, across Eurasia from France to Japan, people were finding better ways to write music down. 彼の時間までに、フランスから日本までのユーラシアの人々が音楽を書き留めるより良い方法を見つけていた。 (4)Once more the region around Mesopotamia led the way: Christians there applied signs to Bible texts to show how they should be chanted. もう一度、メソポタミアの周りの地域は、先導しました： そこのキリスト教徒は、彼らがどのように唱えられなければならないかについて示すために、サインを聖書テキストに適用しました。 (5)These signs can no longer be interpreted, but in their time they spread westwards to Jews, Byzantines and the Latin church, and perhaps eastwards to Tibet. これらのサインはもはや解釈できませんが、彼らの時代には、おそらく東方にチベットに、彼らは西へユダヤ人、ビザンチウムの住民とラテンの教会まで広がった。（？？） (6)Meanwhile, an entirely different system of notation - tablature, which provides instrumentalists with diagrammatic instructions - was developing in China and Japan. その間、記法が完全に異なったシステム(図の指示を器楽奏者に提供する)が中国と日本で展開していました。
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> (1) One witness, St John, followed Plato in distinguishing between good and harmful music: "Lest demons introducing lascivious songs should overthrow everything, God established the psalms, in order that they might provide both pleasure and profit." ダマスコの聖ヨハネは良い音楽と有害な音楽を区別したプラトンに倣って、「悪霊が淫らな歌を持ち込んで、すべてを台無しにしてしまうことのないように、喜びと信仰に寄与するものとして、神は聖歌を作られたのである」 という証言を残しています。 * ここにおける St. John は、「ダマスコのイオアン (676-749)」 （「ダマスコの聖ヨハネ」 「ダマスカスの聖ヨアンネス」 などとも） のことではないかと思われますので、「福音書」 の１つに名前を冠せられているヨハネや、その他幾人も 「ヨハネ」 がいるので、それらから区別するために出生地を頭に冠しておきました （資料は下記の参考URLに出した Wikipedia より）。 (2)These ideas, and a detailed account of Greek musical theory, made Bothius's treatise [De instiutione musica]（Fundamentals of Music） the principal authority for medieval musicians. このような考え方が、詳細なギリシャの音楽理論とも相俟って、ボエティウスの論文 (De instiutione musica 音楽理論） は中世の音楽家たちにとって第一級の権威を有するものとなりました。 (3)By his time, across Eurasia from France to Japan, people were finding better ways to write music down. 彼の生きた時代には、フランスから日本に及ぶ幅広いユーラシア大陸の各地で、音楽を紙に記録する方法が発明されていました。 (4)Once more the region around Mesopotamia led the way: Christians there applied signs to Bible texts to show how they should be chanted. またしても、メソポタミア周辺の人々が先駆けとなりました。その地域に住むキリスト教徒が、聖書のテキストをどんなふうに朗誦するべきかということを示す記号を導入したのです。 (5)These signs can no longer be interpreted, but in their time they spread westwards to Jews, Byzantines and the Latin church, and perhaps eastwards to Tibet. それらの記号の意味についてはもはや分らなくなっていますが、その手法はその時代に西に伝播して、ユダヤ人の住む地域やビザンチン帝国やローマカトリック教会に伝わり、ひょっとしたら東のチベットにまでも伝わった可能性があります。 (6)Meanwhile, an entirely different system of notation - tablature, which provides instrumentalists with diagrammatic instructions - was developing in China and Japan. 一方で、それとは全く異なる記譜法 （文字や数字で演奏方法を示すタブラチュアと呼ばれる方法） が、中国や日本では発展しつつありました。 * 質問者さまの訳をおおいに参考にさせていただきました。
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