Matteo Ricci’s Xiqin Quyi – A Jesuit’s Expert Musicking in Ming China Dissertation zur Erlangung des philosophischen Doktorgrades an der Philosophischen Fakultät der Georg-August-Universität Göttingen vorgelegt von Wong Tsz 王子 aus Hongkong Göttingen 2017 Betreuer: Prof. Dr. Andreas Waczkat Prof. Dr. Thomas Kaufmann Prof. Dr. Henning Klöter 1 Declaration I, Wong Tsz hereby declare that this thesis, entitled “Matteo Ricci’s Xiqin Quyi – A Jesuit’s Expert Musicking in Ming China”, submitted as partial requirement for the Ph.D. in Musicology, is my own original work and expressed in my own words. Any use made within it of works of other authors in any form (e.g. ideas, figures, texts, tables, etc.) are properly acknowledged in the text as well as in the List of References. I hereby also acknowledge that I was informed about the regulations pertaining to the assessment of the Ph.D. in Musicology and about the general completion rules for the The Doctoral Degree Regulations. Signed …….……………………………………………………..... Date ……………………………………………………………….. 2 For my grandparents. 3 Acknowledgement I am truly thankful for those who have assisted me in various ways. First and foremost, my gratitude to all of my supervisors: Prof. Andreas Waczkat, Prof. Henning Klöter, and Prof. Thomas Kaufmann. My gratitude goes also to Prof. Richard VanNess Simmons for proof reading all the transcriptions of phonetics. Thank you for all the guidance, assistance, inspirations and encouragements throughout my research. Scholars and researchers at several institutions welcomed and allowed me to study their collections. Many thanks to Prof. Li Sher-shiueh (李奭學) of the Academia Sinica for sharing his expertise in Jesuit literature; Director Artur K. Wardega of Macau Ricci Institute, for sharing his research on Ricci and Jesuits in China; Dr. David Francis Urrows for sharing his knowledge in Catholic music in Ming-Qing China. I also wish to thank Prof. Liam Matthew Brockey for his kind assistance in finding de Ursis’s letter. The University of Göttingen has been an incredibly supportive and invigorating environment for my research over the years. Research of this dissertation was made possible by the funding of the DFG Research Training Group "Expert Cultures from the Twelfth to the Eighteenth Century" and the Graduate School of Humanities Göttingen (GSGG). It has been an honour and privilege to work with some very outstanding colleagues. I am grateful to all my friends who helped and encouraged me. My friends from Hong Kong and Taiwan; from Oxfam Göttingen; from Euroculture; from Theater im OP (ThOP), my dear music friends from the Quisquis Quintet, the 4 Göttinger Universitätorchestra, and the Akademische Orchestervereinigung Göttingen (AOV). Thank you for the music, the “songs” I'm writing. Special thanks to: Dr. Christian Storch National Central Library, Taipei Institute of History and Philology, Academia Sinica Fu Jen Academia Catholica, Taipei Graduate Institute of European Cultures and Tourism, National Taiwan Normal University Department of History, National Taiwan University University of Macau Library Hong Kong Central Library Roman Catholic Diocese of Hong Kong Niedersächsische Staats- und Universitätsbibliothek Göttingen Mission Library and Catholic Documentation Centre, Aachen Archivum Romanum Societatis Jesu, Rome Last but not least, my love and my gratitude to my family, my mother, L.M. Kam and my aunt, L.M. Jin, thank you for believing in me. The generous assistance and support from all of you made the completion of this research possible. I am truly grateful and thankful. 5 慚予廿載探詩源， 世人抵掌爭笑喧。 已知他日當覆瓿， 且將什襲藏林園。 陽春有調歌偏苦， 下里翻能混聾瞽。 試從今日訪知音， 盡棄黃鐘鳴瓦釜。 許學夷 《贈邱念先社兄時梓澄江詩選》 6 Abstract Matteo Ricci (利瑪竇, 1552-1610) war ein italienischer Missionar und der vielleicht erste europäische Gelehrte, der China besuchte und dabei viele wichtige Erkenntnisse mitbrachte. Matteo Ricci selbst komponierte Musik, nämlich „Xiqin Quyi BaZhang“ (西琴曲意八章), welches aus acht Liedteilen mit chinesischem Text besteht. Leider sind die Noten verloren. Die vorliegende Arbeit versucht eine Rekonstruktion von Riccis Liedertexten mit Hilfe des Jesuiten-Wörterbuchs „Xi Ru Er Mu Zi“ (西儒耳目資) sowie mit musikalischen Aufzeichnungen aus einem Brief von Sabatino de Ursis, datiert auf den 23. August 1608. Ziel der Rekonstruktion ist es, die Funktion der Musik im jesuitisch-chinesischen Guanhua-Lernprozess zu untersuchen und eine Annäherung an die Lieder des „Xiqin Quyi“ vor vierhundert Jahren zu versuchen. 7 Table of Contents 1. Introduction........................................................................................................................ 11 1.1. Hypotheses ................................................................................................................... 11 1.2. Towards Matteo Ricci’s Music and His Role in the Context of Cross-Cultural Encountering – A Bibliographical Essay ......................................................................... 13 1.2.1. The motive and musical activities under the context of transcultural encountering of Matteo Ricci. ...................................................................................... 15 1.2.2. Ricci’s Music - Contextualizing the early Jesuit Music in Ming Court ........... 19 1.2.3. Reconstructing Ricci’s Music .............................................................................. 20 1.2.4. Matteo Ricci’s Musicking – A Functionalist Approach in Researching The Jesuit’s Use of Music ...................................................................................................... 21 1.2.5. From Musicking to Expert Mediator: Matteo Ricci’s Expert Musicking ........ 23 2. Mission Background .......................................................................................................... 26 2.1. Ming China and Europe ............................................................................................. 26 2.2. Destination China, the Jesuit expansion in the East Asia ...................................... 32 2.3. Macau and Jesuit Education in East Asia. ................................................................ 33 2.3.1. Background ........................................................................................................... 33 2.3.2. Establishment of St. Paul’s College (1597-1762) ................................................ 38 2.3.3. Subjects of St. Paul’s College (1597-1762) .......................................................... 41 2.3.4. Suppression of the Jesuits ................................................................................... 42 2.4. Learning Chinese ........................................................................................................ 43 2.4.1. Learning Chinese in Macau and in China ......................................................... 43 2.4.2. In quest of learning the language ...................................................................... 48 2.4.3. First Jesuit Chinese Dictionary .......................................................................... 49 2.4.4. Further Development and Use of Dictionaries ................................................ 55 2.5. Understanding Confucian ......................................................................................... 60 3. Ricci and his music in the context of China’s knowledge in Italy and vice versa ....... 66 3.1. Matteo Ricci’s Educational Background ................................................................... 66 3.2. Rome in the Time of Matteo Ricci ............................................................................ 67 3.3. Ricci in Roman College .............................................................................................. 70 3.4. Ratio Studiorum ......................................................................................................... 73 8 3.5. Ricci’s Knowledge about Chinese Music and Literature ........................................ 80 3.6. The Institutionalized Use of Music in Ming China ................................................ 85 3.7. The Descriptive Uses of Music .................................................................................. 90 3.8. Functionalist Readings of the 17th Century Musicology from a Cultural Perspective ......................................................................................................................... 98 3.9. Towards a Functionalist’s Perspective on Jesuit’s Musicking in Missions ......... 101 3.10. Towards Musicking - Functionalist’s Interpretation of Musicking ................... 106 4. Xiqin Quyi – the first Jesuit composition in China ...................................................... 111 4.1. Contextualizing Xiqin Quyi ...................................................................................... 111 4.2. Reconstructing Xiqin Quyi – Overview .................................................................. 127 4.3. Romanizing the Pronunciation ............................................................................... 129 4.4. Xi Ru Er Mu Zi .......................................................................................................... 131 4.5. On Tones and Ligature ............................................................................................ 137 4.6. Reconstructing Xiqin Quyi with Xi Ru Er Mu Zi ................................................... 141 4.7. Research Findings ...................................................................................................