论唐宋燕乐中的闰角调

发布时间：2018-06-01 09:44

本文选题：燕乐 + 宫调　；参考：《中国音乐》2016年03期

【摘要】：蔡元定在他的《燕乐》一书中系统地概括了唐宋时期形成的燕乐音阶和燕乐音阶燕乐二十八调的形态结构。其内容和之前北宋沈括《梦溪笔谈·补笔谈》等文献所述的燕乐二十八调基本上相一致。所不同的仅是蔡元定在理论上还提出了"变""闰""正角调"和"闰角调"等新的命名,由此引起了近世学者对之作了种种不相同的解释,或认为燕乐调"七角"为"正角调"者是唐代的燕乐二十八调,"七角"为"闰角调"者是宋代的燕乐二十八调;或认为唐宋燕乐二十八调中根本不存在"闰角调"。本文则以公元933年之前抄写的敦煌乐谱中两首琵琶曲谱为据,来论证唐代燕乐也存在"闰角调"的琵琶曲。
[Abstract]:In his book Yan Le, Cai Yuanding systematically summarized the morphological structure of Yan Yue scale and Yanle 28 tone formed in Tang and Song dynasties. Its content is basically consistent with the 28 tone of Yan Le, which was mentioned in the previous documents of the Northern Song Dynasty, such as "Mengxi Pen talk on Mengxi" and so on. What is different is that Cai Yuanding has put forward some new names in theory, such as "change", "leap", "positive angle tone" and "leap angle tune", which has caused various different interpretations by modern scholars. Or that the "seven corners" of Yan music is the 28 tune of Yan music in the Tang Dynasty, and that the "seven corners" is the 28 tune of Yan music in Song Dynasty, or that there is no "intercalated horn tune" in 28 tune of Yan music in Tang and Song dynasties. Based on the two pipa compositions of Dunhuang music written before 933 AD, this paper proves that there are also pipa songs in Yan Music of Tang Dynasty.
【作者单位】：上海音乐学院;
【基金】：2011年度国家社科基金艺术学国家重点项目“中国传统音乐宫调理论研究”(项目编号:11AD003)的阶段性成果
【分类号】：J609.2

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