甘美兰斯连德若音阶律学原理的新发现——从苏灵笛开孔比例看东方音律中隐含的物理基础

发布时间：2018-06-16 01:56

本文选题：斯连德若 + 苏灵笛　；参考：《中国音乐学》2017年02期

【摘要】：一个多世纪以来,世界民族音乐学家们无论是用基于西方观念的律学理论进行演绎还是通过各种测音实践进行归纳,都没有能对甘美兰音乐斯连德若音阶的构成形成一个音律理论共识。本文通过对甘美兰乐队中的吹管乐器苏灵笛制作过程中音孔开孔距离比例的实际调研和分析,探索斯连德若音阶结构背后隐藏的声学和律学规律。同时,在此基础之上提出一种以谐音列第七分音为核心生律音程的“七度律”理论来解释在音乐实践中广为存在、理论上众说纷纭的包括斯连德若音阶在内的东方音乐律制的物理基础,并对霍恩博斯特的“超吹五度循环”和亥姆霍兹的“五平均律”理论进行重要修正。
[Abstract]:For more than a century, the world's folk musicologists have been deducing either from the theory of law based on western concepts or through various phonetic practices. There is no theoretical consensus on the composition of the Slientro scale of Gamelan music. Based on the actual investigation and analysis of the ratio of the distance between the holes of the sound holes in the making process of the wind instrument Suling flute in Gamelan band, this paper explores the acoustic and rhythmic laws hidden behind the structure of the scale of Slindello. At the same time, on the basis of this, a theory of "seven-degree law", which takes the seventh phonetics of the homophonic series as the core, is put forward to explain the widespread existence in music practice. There are different theories on the physical basis of the oriental musical law system, including the scale of Slientelot, and an important revision of Hornberst's theory of "overblown five-degree cycle" and Helmholtz's "five-mean law".
【作者单位】：云南大学艺术与设计学院;

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