论文对日本宫内厅书陵部藏11世纪《源经信琵琶谱》进行系统性研究,通过谱本考辨、符号分析及与唐传琵琶古谱及日本《南宫琵琶谱》的比较研究,揭示其在音高谱字、记谱符号等方面所反映琵琶记谱法日本化的早期实践,为东亚琵琶谱系提供断代新证。同时借助《源经信琵琶谱》后世修复过程中部分失误的发现以及校勘,对它之于《南宫琵琶谱》“调子曲”的继承与发展予以具体的实证,为这份介于《南宫琵琶谱》与《三五要录》之间的时代文献厘清曲目的同时,深化唐宋乐制东传进程中日本化创新的认知。

This study conducts a systematic examination of the 11th-century Minamoto no Tsunenobu Biwa Fu (源经信琵琶谱),held in the Archives and Mausolea Department of the Imperial Household Agency,Japan.Through codicological analysis,symbolic deconstruction,and comparative research with Tang-dynasty biwa tablatures and the Japanese Nangū Biwa Fu (南宫琵琶谱,920 CE),we reveal its role in the early Japanization of biwa notation,evidenced by innovations in pitch characters and performance symbols.Crucially,by identifying restoration errors in later conservation and conducting textual criticism,we concretely demonstrate its inheritance and development of the chōshikyoku (调子曲,modal preludes) from the Nangū Biwa Fu.These findings establish this manuscript as a chronological benchmark within the East Asian biwa lineage—positioned between the Nangū and Sangoyōroku (三五要录) traditions—while deepening scholarly understanding of Japan's transformative adaptation of Tang-Song musical systems during their eastward transmission.