五声变声“变”与“闰”之谜探正
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摘要
一直以来,对于蔡元定的燕乐理论,学术界迄今没有定论。"四变为宫"的"变"与"七闰为角"的"闰",是问题讨论的焦点。有的观点认为"变"和"闰"分别位于清角和清羽,也有观点认为"变"和"闰"分别位于变徵与变宫。无论从中国古代的乐学、艺术实践,还是当代音乐理论及应用上看,雅乐音阶、清乐音阶、燕乐音阶似乎都已经存在,问题在于宋代乐律学家蔡元定《燕乐》一书中,对燕乐音列的解释耐人寻味,于是,蔡元定的"七声高下之略"成为学术界的谜团。笔者认为解读蔡氏燕乐理论关键是要换一种出发点:一则从音乐作品分析入手,二则深入解读"变"字、"闰"字。换一种方式,对蔡氏燕乐理论的解读就变得一目了然。
Academics have not been conclusive about Cai Yuanding's theory of Yan Music.The"Bian"of"four Bians form Gong"and the"Run"of"seven Runs form Jue"are the focuses of discussion.Some people think that"Bian"and "Run"are located at Qingjiao and Qingyu respectively,and some other people also think that"Bian"and"Run"are located in the Bianzhi and Biangong.No matter from the perspective of the ancient Chinese music,artistic practice,or contemporary music theory and application,the Ya music scale,Qing music scales and Yan scales have all existed,but because the interpretation of Yan music tone series is thought-provoking in the book"Yan Music"compiled by the Song Dynasty musicologist Cai Yuanding,his"seven tones strategy"has become a mystery.This paper proposes that the key to the interpretation of Cai's theory of Yan Music is to analyze from a new perspective:firstly from the analysis of musical works,and secondly the interpretation of"Bian"and "Run".a new perspective will make the interpretation of Cai's Theory easier.
Academics have not been conclusive about Cai Yuanding's theory of Yan Music.The"Bian"of"four Bians form Gong"and the"Run"of"seven Runs form Jue"are the focuses of discussion.Some people think that"Bian"and "Run"are located at Qingjiao and Qingyu respectively,and some other people also think that"Bian"and"Run"are located in the Bianzhi and Biangong.No matter from the perspective of the ancient Chinese music,artistic practice,or contemporary music theory and application,the Ya music scale,Qing music scales and Yan scales have all existed,but because the interpretation of Yan music tone series is thought-provoking in the book"Yan Music"compiled by the Song Dynasty musicologist Cai Yuanding,his"seven tones strategy"has become a mystery.This paper proposes that the key to the interpretation of Cai's theory of Yan Music is to analyze from a new perspective:firstly from the analysis of musical works,and secondly the interpretation of"Bian"and "Run".a new perspective will make the interpretation of Cai's Theory easier.
引文
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[2]杨荫浏.中国音乐史纲[M].上海:万叶出版社,1955.
[3]黎英海.汉族调式及其和声[M].上海:上海文艺出版社,1959.
[4]李重光.音乐理论基础[M].北京:人民音乐出版社,1962.
[5]黄翔鹏.中国音乐词典[M].北京:人民音乐出版社,1984.
[6]黄翔鹏.中国传统乐学基本理论的若干简要提示[J].民族民间音乐,1986(3).
[7]陈应时.“变”和“闰”是清角和清羽吗?[J].中央音乐学院学报,1982(2).
[8]沈括.梦溪笔谈[M].北京:新世界出版社,2014.
[9]夏野.乐史曲论[M].上海:上海音乐学院出版社,2006.
[10]谢功成,马国华.论同宫场[C]//人民音乐出版社编辑部.和声的民族风格与现代技法.北京:人民音乐出版社,1999.
[11]夏野.乐史曲论[M].上海:上海音乐学院出版社,2006.
[12]宋史:卷一百三十一[M]//脱脱,等.宋史.北京:中华书局,1977.
[13]朱杰人,严佐之,刘永翔.朱熹传[M]//朱子全书.上海:上海古籍出版社,2002.
[14]中国社会科学院语言研究所词典编辑室.现代汉语词典[Z].北京:商务印书馆,1978.
[15]律生八十四调[M]//张炎.词源疏证:卷上.蔡帧,疏证.北京:中国书店,1985.
[16]十二律吕[M]//张炎.词源疏证:卷上.蔡帧,疏证.北京:中国书店,1985.
[17]张肖虎.五声调式及和声手法[M].北京:人民音乐出版社,1987.
[18]樊祖荫.中国五声调式和声的理论与方法[M].上海:上海音乐出版社,2003.
[19]宋史:乐志[M]//脱脱,等.宋史.北京:中华书局,1977.