三种南宋传世乐谱的宫调研究
发布时间：2018-08-30 08:27
【摘要】： 古代音乐的宫调问题是乐学理论研究的重点课题,更是一个难题。历史文献中留下了许多关于宫调理论的记载,却大都是残缺不全,艰深难懂,让人如坠迷雾,难理头绪。同时在漫长的历史传承中,传统音乐形态发生了极大的变化,而古代的音乐作品又大多不传,所以对于宫调的研究,多数学者都把精力和心血放在了对历史文献的阐释方面。但真正能揭示其真面目的,还是具体的音乐作品。 姜白石词调十七首、越九歌十首及《风雅十二诗谱》是南宋流传至今的三种乐谱。因其谱字基本已被译解,这三种乐谱中保存下来的音乐形态及宫调的实际应用规律就非常值得探讨。本文将对这三种乐谱中的所有歌曲逐一进行本体分析,以求从音乐本身而不是文献资料去解读燕乐宫调理论的特点。 论文正文由六个章节构成,第一章是对三种乐谱的简要介绍,主要涉及其基本内容、历史价值、版本校勘和研究现状几个方面。第二章是谈宋代燕乐宫调系统与三种乐谱之关系,先简单梳理宋代燕乐宫调体系的演变,然后从其调名记载分析三种乐谱实际运用的宫调。第三章是对三种乐谱中的宫、羽、角、徵四种调式的音乐分析;第四章则是对商调式诸曲的音乐分析。主要就每首作品的结构、落音、旋法、终止等各方面进行详细的本体分析,从中探求中国古代燕乐宫调体系的特点及其规律。第五章则是通过比较第三章与第四章分析结果,得出雅乐音阶商调式的实质是燕乐音阶宫调式的结论,并指出两种音阶在应用中存在互渗现象。第六章是对《凄凉犯》的音阶宫调进行分析,认为《凄凉犯》一曲不仅有调式的转换,而且也是两种音阶之间的转换。 结论部分,是在前面所做的南宋三种传世乐谱的分析研究基础上,总结南宋燕乐宫调体系的特点与规律。主要结论是历史文献中记载的南宋燕乐宫调理论与具体音乐作品中实际运用的宫调并不完全吻合,当时的音乐创作实践中是雅乐音阶和燕乐音阶两种系统并用,并在长期的历史发展中相互渗透和影响;两种音阶体系在骨干音与偏音的关系、特性音及特性旋法、不稳定音及其解决等方面都各有规律。两种音阶并用且相互渗透的事实说明,虽然南宋理论界极力倡雅排胡,但其音乐实践中更多保留了唐代燕乐宫调体系的特点,尤其是燕乐音阶的应用更加反映出其音乐创作已无法摆脱深植于唐燕乐骨髓之中的外来音乐成分。
[Abstract]:The problem of the palace tune of ancient music is an important subject in the study of music theory, and it is also a difficult problem. There are many records about the theory of palace tune in the historical literature, but most of them are incomplete and difficult to understand. At the same time, in the long history, the traditional music form has undergone great changes, but the ancient music works are mostly not transmitted, so for the study of palace tune, most scholars put their energy and effort on the interpretation of historical documents. But what can really reveal its true face, or the specific music works. Jiang Baishi's ci tune 17, Yue Nine songs 10 and Fengya Twelve Poems are three kinds of music scores that have been handed down since the Southern Song Dynasty. Because of the translation of these three kinds of music, it is worth discussing the music form and the practical application law of the palace tune in these three kinds of music scores. In this paper, we will analyze all the songs in the three kinds of music one by one, in order to interpret the characteristics of the theory from the music itself, not the literature. The main body of the thesis consists of six chapters. The first chapter is a brief introduction to the three kinds of music scores, mainly involving its basic content, historical value, edition collation and research status. The second chapter is to discuss the relationship between the Song Dynasty Yan Yue Gong tune system and three kinds of music scores. First, it simply combs the evolution of the Song Dynasty Yan music palace tune system, and then analyzes the actual use of the three kinds of music scores from its dionym records. The third chapter is the music analysis of the three kinds of music score, Gong Yu, angle and sign, and the fourth chapter is the music analysis of the Shang tune. In this paper, the structure, falling sound, rotation and termination of each work are analyzed in detail, from which the characteristics and laws of the tune system of Yanle Palace in ancient China are explored. In the fifth chapter, by comparing the results of the third chapter and the fourth chapter, we draw the conclusion that the essence of the quotient tone of the Yale scale is the Yanle scale palace mode, and point out that there exists the phenomenon of mutual infiltration between the two kinds of scales in the application. The sixth chapter is an analysis of the scales of "desolate offenders", and concludes that "desolate criminals" has not only a modal conversion, but also a conversion between the two scales. In the conclusion part, on the basis of the analysis and study of the three kinds of music scores of the Southern Song Dynasty, the characteristics and laws of the tune system of the Yan Music Palace in the Southern Song Dynasty are summarized. The main conclusion is that the theory of Yan Yue Gong tune recorded in the Southern Song Dynasty does not completely coincide with the actual use of the palace tune in the specific music works. In the music creation practice at that time, there were two systems, the elegant music scale and the Yan music scale, which were used together. The two scale systems have their own regularity in the relation between the backbone sound and the skew sound, the characteristic sound and the characteristic rotation method, the unstable sound and its solution. The fact that the two kinds of scales are combined and permeated each other shows that although the Southern Song Dynasty theorists strongly advocated the elegant style and the arrangement of Hu, their musical practice more preserved the characteristics of the tune system of the Yan Yue Gong in the Tang Dynasty. Especially the application of Yan Yue scale reflects that its music creation has been unable to get rid of the foreign music elements deeply planted in Tang Yan's bone marrow.
【学位授予单位】：中央音乐学院
【学位级别】：硕士
【学位授予年份】：2006
【分类号】：J609.2
本文编号：2212532
[Abstract]:The problem of the palace tune of ancient music is an important subject in the study of music theory, and it is also a difficult problem. There are many records about the theory of palace tune in the historical literature, but most of them are incomplete and difficult to understand. At the same time, in the long history, the traditional music form has undergone great changes, but the ancient music works are mostly not transmitted, so for the study of palace tune, most scholars put their energy and effort on the interpretation of historical documents. But what can really reveal its true face, or the specific music works. Jiang Baishi's ci tune 17, Yue Nine songs 10 and Fengya Twelve Poems are three kinds of music scores that have been handed down since the Southern Song Dynasty. Because of the translation of these three kinds of music, it is worth discussing the music form and the practical application law of the palace tune in these three kinds of music scores. In this paper, we will analyze all the songs in the three kinds of music one by one, in order to interpret the characteristics of the theory from the music itself, not the literature. The main body of the thesis consists of six chapters. The first chapter is a brief introduction to the three kinds of music scores, mainly involving its basic content, historical value, edition collation and research status. The second chapter is to discuss the relationship between the Song Dynasty Yan Yue Gong tune system and three kinds of music scores. First, it simply combs the evolution of the Song Dynasty Yan music palace tune system, and then analyzes the actual use of the three kinds of music scores from its dionym records. The third chapter is the music analysis of the three kinds of music score, Gong Yu, angle and sign, and the fourth chapter is the music analysis of the Shang tune. In this paper, the structure, falling sound, rotation and termination of each work are analyzed in detail, from which the characteristics and laws of the tune system of Yanle Palace in ancient China are explored. In the fifth chapter, by comparing the results of the third chapter and the fourth chapter, we draw the conclusion that the essence of the quotient tone of the Yale scale is the Yanle scale palace mode, and point out that there exists the phenomenon of mutual infiltration between the two kinds of scales in the application. The sixth chapter is an analysis of the scales of "desolate offenders", and concludes that "desolate criminals" has not only a modal conversion, but also a conversion between the two scales. In the conclusion part, on the basis of the analysis and study of the three kinds of music scores of the Southern Song Dynasty, the characteristics and laws of the tune system of the Yan Music Palace in the Southern Song Dynasty are summarized. The main conclusion is that the theory of Yan Yue Gong tune recorded in the Southern Song Dynasty does not completely coincide with the actual use of the palace tune in the specific music works. In the music creation practice at that time, there were two systems, the elegant music scale and the Yan music scale, which were used together. The two scale systems have their own regularity in the relation between the backbone sound and the skew sound, the characteristic sound and the characteristic rotation method, the unstable sound and its solution. The fact that the two kinds of scales are combined and permeated each other shows that although the Southern Song Dynasty theorists strongly advocated the elegant style and the arrangement of Hu, their musical practice more preserved the characteristics of the tune system of the Yan Yue Gong in the Tang Dynasty. Especially the application of Yan Yue scale reflects that its music creation has been unable to get rid of the foreign music elements deeply planted in Tang Yan's bone marrow.
【学位授予单位】：中央音乐学院
【学位级别】：硕士
【学位授予年份】：2006
【分类号】：J609.2
【相似文献】
相关重要报纸文章 前1条
1 杨牧之;怀念阴法鲁先生[N];中华读书报;2010年
相关硕士学位论文 前2条
1 张红梅;三种南宋传世乐谱的宫调研究[D];中央音乐学院;2006年
2 李建荣;姜夔自度曲的音乐创作风格研究[D];河南师范大学;2012年
，本文编号：2212532
本文链接：https://www.wllwen.com/wenyilunwen/qiyueyz/2212532.html
