论《律吕正义后编》中的琵琶、二弦音律

发布时间：2018-06-06 03:16

本文选题：琵琶 + 二弦　；参考：《中国音乐学》2017年02期

【摘要】：从两汉到明代,对于有品弹弦乐器而言,始终没有出现过类似对琴的弦长、徽位音、按音等具体尺度的记载,直至清代乾隆御制《律吕正义后编》,才有了对琵琶、二弦等有品弹弦乐器的全弦长以及各品柱弦长的详细记载。这对于有品弹弦乐器的音律研究,弥足珍贵。乾隆御制《律吕正义后编》所载之四象(相)十三品琵琶、十七品二弦二者弦度比之同一,且"以《史记》三分损益之法"顺推宫声所生之前六音,与"《管子》四开之法"逆推变徵所生之后六音,合而为十二音,即十二律。此十二律实为"五度相生律",亦可谓是传统与西学的融合。乾隆御制《律吕正义后编》琵琶、二弦的象、品的律位设置,直观为黄钟均清商音阶,而以夹钟为宫,则是蔡元定所谓"燕乐以夹钟收四声",葛见尧《泰律·外篇》所云"徵不立调,西凉之制;夹钟为宫,清商之余"之明证。
[Abstract]:From the Han Dynasty to the Ming Dynasty, there was never any record of the length of strings, the sound of emblems, and the tone of the harp, which were similar to those of the stringed instruments. It was not until the Qianlong imperial system of the Qing Dynasty, "Lulu Justices", that there was a lute, did it appear that there was no such thing as a pipa? The length of the full string and the length of the string of each string are recorded in detail. This is valuable to the study of the rhythm of musical instruments. Qianlong's imperial system, the four images (phase) of thirteen pipas and the same chord ratio of seventeen pieces and two strings contained in the Book of Justice of Qianlong, and the first six tones produced by the sound of pushing the palace "with the method of three points of profit and loss in the Book of Records of the historian," And "the method of four open," after the inversion of the six tones, combined to 12, that is, 12 rhythm. The twelve laws are in fact the "five-degree law", which is also the fusion of tradition and western learning. Qianlong's Imperial system "Lulu after Justice" pipa, the two strings of the image, the product of the law of the setting, the Huang Zhong is the Qing Dynasty scale, and the clock for the palace, Cai Yuanding so-called, "Yan music with the clock received four", GE Jianyao, "the law of the outside" cloud, "the system of the West Liang; Jiao Zhong for the Palace, the Qing Dynasty outside the clear proof."
【作者单位】：福建师范大学音乐学院;
【分类号】：J632.3

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