本文選題：斯連德若 + 蘇靈笛��； 參考：《中國音樂學》2017年02期

【摘要】：一個多世紀以來,世界民族音樂學家們無論是用基于西方觀念的律學理論進行演繹還是通過各種測音實踐進行歸納,都沒有能對甘美蘭音樂斯連德若音階的構成形成一個音律理論共識。本文通過對甘美蘭樂隊中的吹管樂器蘇靈笛制作過程中音孔開孔距離比例的實際調研和分析,探索斯連德若音階結構背后隱藏的聲學和律學規(guī)律。同時,在此基礎之上提出一種以諧音列第七分音為核心生律音程的“七度律”理論來解釋在音樂實踐中廣為存在、理論上眾說紛紜的包括斯連德若音階在內的東方音樂律制的物理基礎,并對霍恩博斯特的“超吹五度循環(huán)”和亥姆霍茲的“五平均律”理論進行重要修正。
[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".
【作者單位】： 云南大學藝術與設計學院;

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