宋代琴律理论中的“自然之节”论  

Towards the "Natural Node''(Ziran zhi jte) in the Qin Temperament of the Song Dynasty

作　　者：陈应时[1] 

机构地区：[1]上海音乐学院音乐学系

出　　处：《音乐艺术（上海音乐学院学报）》2014年第2期94-99,4,共7页Art of Music(Journal of the Shanghai Conservatory of Music)

基　　金：2011年度国家社科基金艺术学国家重点项目"中国传统音乐宫调理论研究";项目号:11AD003

摘　　要："自然之节"论初见于北宋琴家崔遵度的《琴笺》,后为北宋科学家沈括所继承。基于"自然之节"的理论,南宋琴家徐理在他的《琴统·十则》中又发展成"琴有十则,节四十五,同者十有四,得位者三十有一"的"三十一节"论;据此又提出了琴律中"‘徽'以天地生成之数均等分节,‘律'以上下损益之法参差定位"的两种生律法,并将这两种律制命名为"徽法"和"准法"。The qin temperament 'natural node'( between two amplitudes of string vibrations) of the Song Dynasty can be traced to its very beginning in the qin player Cui Zundu's Qin Jian(Qin Commentary) of that era, furthering closely at his heels by the scientist Shen Kuo and the qin player Xu Li in his Qin Tong(Qin Tradition) successively.

关 键 词：琴律 自然之节 徽法律 准法律 

分 类 号：J612.1[艺术—音乐]