马王堆三号墓七弦琴的音乐考古学研究  

Music Archaeological Study of the 7-string Qin from Tomb 3 at Mawangdui

作　　者：虞文雅 Yu Wenya(Zhengzhou University)

机构地区：[1]郑州大学

出　　处：《湖南省博物馆馆刊》2022年第1期70-78,共9页Hunan Provincial Museum

摘　　要：本文从早期出土七弦琴入手,运用考古类型学、音乐学研究方法,梳理早期琴的出土概况,并从音乐性能上进行分式。以律制为线索,探究先秦时为编钟定律的弦准与早期琴之间调弦法的共通性。着重运用实验音乐考古的研究方法对马王堆三号墓七弦琴进行复制,在复制琴上实践先秦五弦准散音纯律音阶。研究认为,早期出土琴是现在古琴的前身,结合马王堆三号墓七弦琴的结构设计及琴面的纹饰来看,早期琴很有可能使用了纯律调弦法。楚地出土琴与西汉琴形制上的一脉相承,又进一步说明楚音乐文化在汉代仍然有所延续。This paper,starting from the early unearthed 7-string qin,uses the methods of archaeological typology and musicology to comb through the excavation situation of early qin and classify these from their musical performance.Taking the tonality system as the clue,this paper explores the relationship between the existing Chu Zhong tonality and the early Qin tuning method.It focuses on the use of experimental music archaeology to replicate the 7-string qin from Tomb 3 at Mawangdui,and realize the pure tonal scale based on the Zhong tonality on the replica qin.The research shows that the early unearthed qin are the predecessors of the present guqin,and there exists an internal relationship between the pre-Qin string tonality,the Zhong tonality and the pure tonality of guqin.Considering the structural design of the 7-string qin from Tomb 3 at Mawangdui and the wear marks on its surface,it is very possible that the early qin used the pure tonality tuning method.The shape and structure of the qin unearthed in Chu and the qin of the Western Han Dynasty form a continuation,which further shows that Chu music culture still continued in the Han Dynasty.

关 键 词：上古琴 马王堆七弦琴 琴律 乐器复制 楚文化 

分 类 号：K875.5[历史地理—考古学及博物馆学] J632.31[历史地理—历史学]