议《竟山乐录》中工尺谱所对应的音位问题——兼与《试论古笛色九声谱》一文商榷

发布时间：2018-05-21 05:47

本文选题：毛奇龄 + 《竟山乐录》　；参考：《南京艺术学院学报(音乐与表演)》2017年03期

【摘要】：依毛奇龄在《竟山乐录》中所述,其对"七声"的认识不与前朝同:从第一声起,依序为宫、变宫、商、角、徵、变徵、羽,分别对应十二律中的前七律。在这种排序下,"宫"与调高不再相关,而是一种以某音为起始音的排序方式。笔者通过解读《竟山乐录》卷二中的《笛色七调》、《笛色九声谱》二篇,重新排列了其工尺谱所对应的音位,并对原文所收录的《叹疆场》一曲进行了译谱。
[Abstract]:According to Mao Qiling in Jingshan Le Lu, his understanding of "seven sounds" is not the same as that of the previous dynasties: from the first sound, it is the first seven laws of the twelve laws in the following order: the palace, the Shang, the angle, the sign, the feather. In this sort, Gong is no longer related to elevation, but a sort of starting tone. In this paper, the author rearranges the phonemes corresponding to the working-scale spectrum by interpreting the "Seven tones of Flute and Color" and "Nine Sonic Spectrum of Flute and Color" in the second volume of "Jingshan Le Lu", and makes a translation of "sighing Field", which is included in the original text.
【作者单位】：广西艺术学院艺术研究院;
【基金】：2016年度广西高校中青年教师基础能力提升项目“测量广西民间音乐律制的乐器设计与制作”(项目编号:KY2016YB288)的阶段性成果
【分类号】：J613.4

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