@article{oai:tama.repo.nii.ac.jp:00000227,
 author = {Honobe,  Erick and Honobe,  Erick},
 journal = {紀要, Bulletin},
 month = {Mar},
 note = {本稿は漢詩の平仄(ひょうそく)についてデータ分析を行った。課題は唐代の発音を使わずに現代の北京語と日本語の発音のみで漢詩の平仄を判別できるかである。今回は白楽天 の長恨歌を実例にあげる。結果、分析によって一つの顕著な特徴が分かった。普段は現代発音法における例外や旧仮名の使用も多いが長恨歌では例外も旧仮名の使用もほぼ見られなかった。例として「源氏物語」で引用された長恨歌の句に現代発音法を応用する。
\nIn this paper, we conduct data analysis on tone patterns in ancient Chinese poetry, and focus on whether finding tone patterns always requires the use of ancient Chinese phonetics or whether a combination of modern Chinese and Japanese sounds can suffice for this task. The data sample is a poem by Po Chü-i called The Song of Everlasting Regret. While applying modern sounds to ancient Chinese poetry usually entails many inconsistencies, we find that such inconsistencies almost do not occur in this poem. Further, while historical Japanese orthography is usually ecessary for finding tone patterns in ancient Chinese poetry, we find that the use of modern Japanese orthography alone is sufficient for this poem. As an illustrative example, we apply modern sounds to some verses cited in The Tale of Genji by Murasaki Shikibu.},
 pages = {29--39},
 title = {長恨歌の平仄韻律と現代発音法},
 volume = {Vol. 4},
 year = {2012}
}