论燕乐琵琶乐调的实质性转变
本文选题:五弦琵琶 + 四弦四相琵琶 ; 参考:《星海音乐学院学报》2017年04期
【摘要】:从隋朝郑译与外来苏祗婆乐调的对应(587)起,燕乐调在琵琶上是经过几次转变的:一次是由同宫系统转向同音异名多调性运用,到唐天宝十三载(754),太乐署供奉曲名及改诸乐名时,已显示出了这种转变。另一次是大约在武后与玄宗之间(624—762)或玄宗末年与中唐之间(762—839),四弦四相琵琶定弦总体降低了四度,前者保留在当今福建南琶定弦上;后者即为北琶广泛采用,更促进了多调性的运用。再一次是在四弦四相琵琶总体降低四度之后,明确了低大二度的双调定弦法,这大概是中唐以后才形成的格局。至此,这些均是围绕拨弹乐器琵琶进行的。但约中、后唐至宋朝,由于主奏乐器转移到吹管乐器筚篥与笛上,乐调理论也随之发生了变化。正如那时文体上出现游戏式的回文诗、璇玑图那样,音乐上也有类似游戏式的乐调排列,其实,这与真正乐调的发展并无什么特别的关联,相反,则造成了燕乐不用徵调以及角调位置认定等种种谜团,成为燕乐调的千古之谜。
[Abstract]:From the Sui Dynasty Zheng's translation to the foreign Su 'zhou-bo 's tune correspondence (No. 587), Yan's tune on the pipa has undergone several changes: once, from the same palace system to the use of homonyms and polytonics, to Tang Tianbao's 13 years of 754, when the Tai Yue Department consecrated the music titles and changed the musical names. This shift has been demonstrated. The other one was about 624-762) or between Xuanzong and Xuanzong (624-762) or between Xuanzong and the middle Tang Dynasty. The four-string and four-phase pipa strings were generally reduced by four degrees. The former was retained on the south of Fujian Province, and the latter was widely used in the northern part of the world. It also promotes the use of polytonicity. Once again, after the four-string and four-phase pipa was reduced by four degrees in general, it was clear that the double tuning method of low two degrees was only formed after the middle Tang Dynasty. At this point, these are around the plucked instrument pipa. However, from the later Tang Dynasty to the Song Dynasty, the music tune theory changed with the transfer of the principal instrument to the wind instrument. Just as game palindromes appeared in style at that time, so did Xuanji's pictures, and there was a similar game-style arrangement in music. In fact, this had nothing to do with the development of real music, on the contrary. It has caused the enigma of Yan Yue's unsoliciting and the position determination of the horn tune, which has become the riddle of Yan's music tune for a long time.
【作者单位】: 上海艺术研究所;
【分类号】:J632.33
【相似文献】
相关期刊论文 前10条
1 汤君;中国隋唐燕乐与中亚音乐的关系[J];四川戏剧;2002年04期
2 习毅;一部揭示燕乐奥秘的著作——读《燕乐新说》[J];音乐研究;2003年04期
3 赵宏声;;论宋代九盏制宫廷燕乐表演[J];开封教育学院学报;2009年01期
4 赵玉卿;;“燕乐音阶”申论——兼与杜亚雄先生商榷[J];中国音乐学;2011年02期
5 耿占军;《唐代舞蹈》关于《燕乐》流变正误[J];唐都学刊;1997年01期
6 傅瑜;;宋朝军队燕乐兴起的背景分析[J];北方音乐;2011年09期
7 汤君;敦煌燕乐歌舞考略[J];文艺研究;2002年03期
8 曾美月;隋唐“燕乐”考[J];南通师范学院学报(哲学社会科学版);2004年01期
9 陈应时;燕乐“四宫”说的三错[J];中国音乐;2004年02期
10 张震英;曲径通幽的绝学境界——读刘崇德先生《燕乐新说》[J];艺术探索;2004年S2期
相关会议论文 前2条
1 刘崇德;徐文武;;燕乐声乐化与词体的产生[A];中国诗歌与音乐关系研究——第一届与第二届“中国诗歌与音乐关系”学术研讨会论文集[C];2002年
2 岳珍;;隋唐燕乐小曲考论——关于词体发生方式的研究[A];中国诗歌与音乐关系研究——第一届与第二届“中国诗歌与音乐关系”学术研讨会论文集[C];2002年
相关硕士学位论文 前6条
1 赵颖;元代琵琶艺术探微[D];郑州大学;2017年
2 任双;隋唐琵琶形制演变及其艺术繁盛[D];郑州大学;2017年
3 张t,
本文编号:1809208
本文链接:https://www.wllwen.com/wenyilunwen/yinlelunwen/1809208.html