三種南宋傳世樂(lè)譜的宮調(diào)研究
發(fā)布時(shí)間：2018-08-30 08:27
【摘要】： 古代音樂(lè)的宮調(diào)問(wèn)題是樂(lè)學(xué)理論研究的重點(diǎn)課題,更是一個(gè)難題。歷史文獻(xiàn)中留下了許多關(guān)于宮調(diào)理論的記載,卻大都是殘缺不全,艱深難懂,讓人如墜迷霧,難理頭緒。同時(shí)在漫長(zhǎng)的歷史傳承中,傳統(tǒng)音樂(lè)形態(tài)發(fā)生了極大的變化,而古代的音樂(lè)作品又大多不傳,所以對(duì)于宮調(diào)的研究,多數(shù)學(xué)者都把精力和心血放在了對(duì)歷史文獻(xiàn)的闡釋方面。但真正能揭示其真面目的,還是具體的音樂(lè)作品。 姜白石詞調(diào)十七首、越九歌十首及《風(fēng)雅十二詩(shī)譜》是南宋流傳至今的三種樂(lè)譜。因其譜字基本已被譯解,這三種樂(lè)譜中保存下來(lái)的音樂(lè)形態(tài)及宮調(diào)的實(shí)際應(yīng)用規(guī)律就非常值得探討。本文將對(duì)這三種樂(lè)譜中的所有歌曲逐一進(jìn)行本體分析,以求從音樂(lè)本身而不是文獻(xiàn)資料去解讀燕樂(lè)宮調(diào)理論的特點(diǎn)。 論文正文由六個(gè)章節(jié)構(gòu)成,第一章是對(duì)三種樂(lè)譜的簡(jiǎn)要介紹,主要涉及其基本內(nèi)容、歷史價(jià)值、版本�？焙脱芯楷F(xiàn)狀幾個(gè)方面。第二章是談宋代燕樂(lè)宮調(diào)系統(tǒng)與三種樂(lè)譜之關(guān)系,先簡(jiǎn)單梳理宋代燕樂(lè)宮調(diào)體系的演變,然后從其調(diào)名記載分析三種樂(lè)譜實(shí)際運(yùn)用的宮調(diào)。第三章是對(duì)三種樂(lè)譜中的宮、羽、角、徵四種調(diào)式的音樂(lè)分析;第四章則是對(duì)商調(diào)式諸曲的音樂(lè)分析。主要就每首作品的結(jié)構(gòu)、落音、旋法、終止等各方面進(jìn)行詳細(xì)的本體分析,從中探求中國(guó)古代燕樂(lè)宮調(diào)體系的特點(diǎn)及其規(guī)律。第五章則是通過(guò)比較第三章與第四章分析結(jié)果,得出雅樂(lè)音階商調(diào)式的實(shí)質(zhì)是燕樂(lè)音階宮調(diào)式的結(jié)論,并指出兩種音階在應(yīng)用中存在互滲現(xiàn)象。第六章是對(duì)《凄涼犯》的音階宮調(diào)進(jìn)行分析,認(rèn)為《凄涼犯》一曲不僅有調(diào)式的轉(zhuǎn)換,而且也是兩種音階之間的轉(zhuǎn)換。 結(jié)論部分,是在前面所做的南宋三種傳世樂(lè)譜的分析研究基礎(chǔ)上,總結(jié)南宋燕樂(lè)宮調(diào)體系的特點(diǎn)與規(guī)律。主要結(jié)論是歷史文獻(xiàn)中記載的南宋燕樂(lè)宮調(diào)理論與具體音樂(lè)作品中實(shí)際運(yùn)用的宮調(diào)并不完全吻合,當(dāng)時(shí)的音樂(lè)創(chuàng)作實(shí)踐中是雅樂(lè)音階和燕樂(lè)音階兩種系統(tǒng)并用,并在長(zhǎng)期的歷史發(fā)展中相互滲透和影響;兩種音階體系在骨干音與偏音的關(guān)系、特性音及特性旋法、不穩(wěn)定音及其解決等方面都各有規(guī)律。兩種音階并用且相互滲透的事實(shí)說(shuō)明,雖然南宋理論界極力倡雅排胡,但其音樂(lè)實(shí)踐中更多保留了唐代燕樂(lè)宮調(diào)體系的特點(diǎn),尤其是燕樂(lè)音階的應(yīng)用更加反映出其音樂(lè)創(chuàng)作已無(wú)法擺脫深植于唐燕樂(lè)骨髓之中的外來(lái)音樂(lè)成分。
[Abstract]:The problem of the palace tune of ancient music is an important subject in the study of music theory, and it is also a difficult problem. There are many records about the theory of palace tune in the historical literature, but most of them are incomplete and difficult to understand. At the same time, in the long history, the traditional music form has undergone great changes, but the ancient music works are mostly not transmitted, so for the study of palace tune, most scholars put their energy and effort on the interpretation of historical documents. But what can really reveal its true face, or the specific music works. Jiang Baishi's ci tune 17, Yue Nine songs 10 and Fengya Twelve Poems are three kinds of music scores that have been handed down since the Southern Song Dynasty. Because of the translation of these three kinds of music, it is worth discussing the music form and the practical application law of the palace tune in these three kinds of music scores. In this paper, we will analyze all the songs in the three kinds of music one by one, in order to interpret the characteristics of the theory from the music itself, not the literature. The main body of the thesis consists of six chapters. The first chapter is a brief introduction to the three kinds of music scores, mainly involving its basic content, historical value, edition collation and research status. The second chapter is to discuss the relationship between the Song Dynasty Yan Yue Gong tune system and three kinds of music scores. First, it simply combs the evolution of the Song Dynasty Yan music palace tune system, and then analyzes the actual use of the three kinds of music scores from its dionym records. The third chapter is the music analysis of the three kinds of music score, Gong Yu, angle and sign, and the fourth chapter is the music analysis of the Shang tune. In this paper, the structure, falling sound, rotation and termination of each work are analyzed in detail, from which the characteristics and laws of the tune system of Yanle Palace in ancient China are explored. In the fifth chapter, by comparing the results of the third chapter and the fourth chapter, we draw the conclusion that the essence of the quotient tone of the Yale scale is the Yanle scale palace mode, and point out that there exists the phenomenon of mutual infiltration between the two kinds of scales in the application. The sixth chapter is an analysis of the scales of "desolate offenders", and concludes that "desolate criminals" has not only a modal conversion, but also a conversion between the two scales. In the conclusion part, on the basis of the analysis and study of the three kinds of music scores of the Southern Song Dynasty, the characteristics and laws of the tune system of the Yan Music Palace in the Southern Song Dynasty are summarized. The main conclusion is that the theory of Yan Yue Gong tune recorded in the Southern Song Dynasty does not completely coincide with the actual use of the palace tune in the specific music works. In the music creation practice at that time, there were two systems, the elegant music scale and the Yan music scale, which were used together. The two scale systems have their own regularity in the relation between the backbone sound and the skew sound, the characteristic sound and the characteristic rotation method, the unstable sound and its solution. The fact that the two kinds of scales are combined and permeated each other shows that although the Southern Song Dynasty theorists strongly advocated the elegant style and the arrangement of Hu, their musical practice more preserved the characteristics of the tune system of the Yan Yue Gong in the Tang Dynasty. Especially the application of Yan Yue scale reflects that its music creation has been unable to get rid of the foreign music elements deeply planted in Tang Yan's bone marrow.
【學(xué)位授予單位】：中央音樂(lè)學(xué)院
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2006
【分類號(hào)】：J609.2
本文編號(hào)：2212532
[Abstract]:The problem of the palace tune of ancient music is an important subject in the study of music theory, and it is also a difficult problem. There are many records about the theory of palace tune in the historical literature, but most of them are incomplete and difficult to understand. At the same time, in the long history, the traditional music form has undergone great changes, but the ancient music works are mostly not transmitted, so for the study of palace tune, most scholars put their energy and effort on the interpretation of historical documents. But what can really reveal its true face, or the specific music works. Jiang Baishi's ci tune 17, Yue Nine songs 10 and Fengya Twelve Poems are three kinds of music scores that have been handed down since the Southern Song Dynasty. Because of the translation of these three kinds of music, it is worth discussing the music form and the practical application law of the palace tune in these three kinds of music scores. In this paper, we will analyze all the songs in the three kinds of music one by one, in order to interpret the characteristics of the theory from the music itself, not the literature. The main body of the thesis consists of six chapters. The first chapter is a brief introduction to the three kinds of music scores, mainly involving its basic content, historical value, edition collation and research status. The second chapter is to discuss the relationship between the Song Dynasty Yan Yue Gong tune system and three kinds of music scores. First, it simply combs the evolution of the Song Dynasty Yan music palace tune system, and then analyzes the actual use of the three kinds of music scores from its dionym records. The third chapter is the music analysis of the three kinds of music score, Gong Yu, angle and sign, and the fourth chapter is the music analysis of the Shang tune. In this paper, the structure, falling sound, rotation and termination of each work are analyzed in detail, from which the characteristics and laws of the tune system of Yanle Palace in ancient China are explored. In the fifth chapter, by comparing the results of the third chapter and the fourth chapter, we draw the conclusion that the essence of the quotient tone of the Yale scale is the Yanle scale palace mode, and point out that there exists the phenomenon of mutual infiltration between the two kinds of scales in the application. The sixth chapter is an analysis of the scales of "desolate offenders", and concludes that "desolate criminals" has not only a modal conversion, but also a conversion between the two scales. In the conclusion part, on the basis of the analysis and study of the three kinds of music scores of the Southern Song Dynasty, the characteristics and laws of the tune system of the Yan Music Palace in the Southern Song Dynasty are summarized. The main conclusion is that the theory of Yan Yue Gong tune recorded in the Southern Song Dynasty does not completely coincide with the actual use of the palace tune in the specific music works. In the music creation practice at that time, there were two systems, the elegant music scale and the Yan music scale, which were used together. The two scale systems have their own regularity in the relation between the backbone sound and the skew sound, the characteristic sound and the characteristic rotation method, the unstable sound and its solution. The fact that the two kinds of scales are combined and permeated each other shows that although the Southern Song Dynasty theorists strongly advocated the elegant style and the arrangement of Hu, their musical practice more preserved the characteristics of the tune system of the Yan Yue Gong in the Tang Dynasty. Especially the application of Yan Yue scale reflects that its music creation has been unable to get rid of the foreign music elements deeply planted in Tang Yan's bone marrow.
【學(xué)位授予單位】：中央音樂(lè)學(xué)院
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2006
【分類號(hào)】：J609.2
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，本文編號(hào)：2212532
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