「清樂」指清代音樂，原為中國東南沿海一帶的民間音樂與戲曲，於十九世紀初經由貿易路線傳到日本長崎，並散播至日本各地，在清日戰爭(1894-95)之前頗為流行。清樂原以工尺譜記譜，一般只記骨譜，作為備忘用。在西式記譜法未盛行於日本之前，工尺譜也用來記錄日本俗曲等樂曲。然而對日本人而言，清樂畢竟是異國音樂，傳統工尺譜僅記板位，未詳標節拍的方式，於學習上頗有隔閡。於是清樂家們運用各種方式，包括自創標示節拍的符號、挪用簡譜的小節線與時值標示等記號，到最後連工尺譜字也換成數字，直書改橫書，至此完全被簡譜取代。然而清樂樂譜中，詳細標示節拍的譜本與年代先後並無絕對關係，各種加入自創或挪用簡譜節拍標示的譜本，與使用傳統工尺譜的譜本，同時間流通於市面上。對照於與清樂同一系統，但流傳於臺灣的北管音樂來看，後者仍沿用傳統的工尺譜記譜與傳習。這種現象帶給吾人另一層面的思考，到底記譜法的改變，與音樂實踐、傳習方法有什麼樣的互動？對該樂種的興衰有沒有影響？而清樂樂譜從工尺譜到數字譜的改變，除了因應教與學的需求之外，背後隱含的訊息與意義又如何？本文檢視清樂樂譜的改變過程，並討論其變遷與衰微背後所隱含的現代性及他者的轉移等意識和歷程。

Shingaku was originally a type of folk music from Southeastern China which entered Nagasaki in Japan via trade routes at the beginning of the nineteenth century and became popular before the Sino-Japan War (1894-95). ‘Shin’ refers to the Qing dynasty of China while ‘gaku’ means music. The gongchepu (gongche notation) is a kind of Chinese notation which uses Chinese characters to notate pitches. Shingaku utilized a simple format of gongchepu that merely notated skeletal melodies. In addition to shingaku, gongchepu was used to notate Japanese folk music, school songs, and other music in the Edo and Meiji eras. Traditionally, the gongchepu did not notate the rhythm in detail. Therefore, it was not precise enough for Japanese people to learn a foreign music genre such as shingaku. Shingaku masters applied various devices including adding signs of beat to notate the rhythm precisely. When contrasted with a similar music genre, that of beiguan in Taiwan, which still consistently maintains the traditional format of gongchepu for transmission, shingaku masters appropriated metric and measure signs of cipher notation to gongchepu. This allows speculation as to how this new notation affected the music and teaching traditions. Furthermore, why the appropriation of signs of cipher notation was chosen to improve shingaku notation which eventually led to the decline of the gongchepu? In this paper, I examine the transformation and innovation of notation used in shingaku. I argue that behind the transformation of the notation used in shingaku, there were negotiation of the old and the new as well as ideology and process of changing a new ‘other’.