三種南宋傳世樂譜的宮調(diào)研究
發(fā)布時間：2018-08-30 08:27
【摘要】： 古代音樂的宮調(diào)問題是樂學(xué)理論研究的重點課題,更是一個難題。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。同時在漫長的歷史傳承中,傳統(tǒng)音樂形態(tài)發(fā)生了極大的變化,而古代的音樂作品又大多不傳,所以對于宮調(diào)的研究,多數(shù)學(xué)者都把精力和心血放在了對歷史文獻(xiàn)的闡釋方面。但真正能揭示其真面目的,還是具體的音樂作品。 姜白石詞調(diào)十七首、越九歌十首及《風(fēng)雅十二詩譜》是南宋流傳至今的三種樂譜。因其譜字基本已被譯解,這三種樂譜中保存下來的音樂形態(tài)及宮調(diào)的實際應(yīng)用規(guī)律就非常值得探討。本文將對這三種樂譜中的所有歌曲逐一進行本體分析,以求從音樂本身而不是文獻(xiàn)資料去解讀燕樂宮調(diào)理論的特點。 論文正文由六個章節(jié)構(gòu)成,第一章是對三種樂譜的簡要介紹,主要涉及其基本內(nèi)容、歷史價值、版本�？焙脱芯楷F(xiàn)狀幾個方面。第二章是談宋代燕樂宮調(diào)系統(tǒng)與三種樂譜之關(guān)系,先簡單梳理宋代燕樂宮調(diào)體系的演變,然后從其調(diào)名記載分析三種樂譜實際運用的宮調(diào)。第三章是對三種樂譜中的宮、羽、角、徵四種調(diào)式的音樂分析;第四章則是對商調(diào)式諸曲的音樂分析。主要就每首作品的結(jié)構(gòu)、落音、旋法、終止等各方面進行詳細(xì)的本體分析,從中探求中國古代燕樂宮調(diào)體系的特點及其規(guī)律。第五章則是通過比較第三章與第四章分析結(jié)果,得出雅樂音階商調(diào)式的實質(zhì)是燕樂音階宮調(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《凄涼犯》的音階宮調(diào)進行分析,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譜的分析研究基礎(chǔ)上,總結(jié)南宋燕樂宮調(diào)體系的特點與規(guī)律。主要結(jié)論是歷史文獻(xiàn)中記載的南宋燕樂宮調(diào)理論與具體音樂作品中實際運用的宮調(diào)并不完全吻合,當(dāng)時的音樂創(chuàng)作實踐中是雅樂音階和燕樂音階兩種系統(tǒng)并用,并在長期的歷史發(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說明,雖然南宋理論界極力倡雅排胡,但其音樂實踐中更多保留了唐代燕樂宮調(diào)體系的特點,尤其是燕樂音階的應(yīng)用更加反映出其音樂創(chuàng)作已無法擺脫深植于唐燕樂骨髓之中的外來音樂成分。
[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not transmitted, so for the study of palace tune, most scholars put their energy and effort on the interpretation of historical documents.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】：中央音樂學(xué)院
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2006
【分類號】：J609.2
本文編號：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】：中央音樂學(xué)院
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2006
【分類號】：J609.2
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