中古拜占庭音乐传统中的以颂保持音:形态、意义与影响  

Ison in the Medieval Byzantine Musical Tradition:Form,Meaning and Influence

作　　者：李易雨篪 徐凤林[1] Li Yiyuchi;Xu Fenglin

机构地区：[1]北京大学哲学系宗教学系,北京100871

出　　处：《北方音乐》2022年第4期63-73,共11页Journal of the Northern Music

摘　　要：以颂保持音是中古时期拜占庭调式体系与礼仪思想结合的独特产物,拥有辅助颂歌演唱、支撑乐曲结构和象征神圣理念的三重功能,其主要目的是保证教会调式在颂歌中的统治地位。以颂保持音高度依赖八调体系的权威性和完整性而存在。在听觉上,以颂伴唱的颂歌与部分西欧早期复调风格有相似之处,但其音乐思维与复调存在根本差异,也缺乏向复调发展的动力。中古时期拜占庭文化影响区内的各个音乐传统中,保加利亚传统延续了以颂保持音技法,而罗斯传统中的保持音遗失了调式意义,其后在15—17世纪渐趋式微,这一区别的关键原因在于两个传统吸收拜占庭调式体系的完整程度不同。Ison is a unique product of the medieval Byzantine tonal system and liturgical thought.Ison has three functions,i. e. accompaning the singing of chants,structuring the music and symbolizing the sacred concept. Ison is highly dependent on the authority and integrity of the “octave” (oOκτwηχοc)system. Aurally,chants sung with Ison have similarities to some early Western European polyphonic styles,but their musical thinking differs fundamentally from polyphony and lacks the impetus to develop toward it. Among the various musical traditions in the zone which influenced by the Medieval Byzantine culture,the Bulgarian tradition continued the technique of chanting with Ison,while Ison in the Russian tradition lost its tonal significance and subsequently declined in the 15th and 17th centuries. The key reason for this difference lies in the different degrees of completeness of the two traditions’ absorption of the Byzantine modal system.

关 键 词：“以颂”保持音 拜占庭音乐 俄罗斯音乐 东正教音乐 中世纪音乐 

分 类 号：J609.1[艺术—音乐] K134[历史地理—历史学]