简介《燕乐探微》作者丘琼荪的学术贡献  

Brief Introduction of Academic Achievement of Qiu Qiongsun, the Author of Research of Yanyue

作　　者：孙新财 

机构地区：[1]台北市立国乐团演奏组

出　　处：《乐府新声（沈阳音乐学院学报）》2005年第4期25-28,共4页The New Voice of Yue-Fu(Journal of the Shenyang Conservatory of Music)

摘　　要：1．28调源于四弦十四柱,直项的秦汉乐琵琶。 2．隋唐燕乐调不尽是外来乐调,也有中国本土的乐调。 3．唐用玉尺律(黄钟=e)、宋用铁尺律(黄钟=#f)。 4．宋用正声为基调、唐用下徵(为基调)。 5．苏祇婆七声调及燕乐四声调,都是“音阶。 6．“为调名制”下有四音阶、“之调名制”只用一音阶记谱。 7．《辽史》“四旦”的用法,与《隋志》的用法同。“旦”实包举七调,“旦”绝不作“均” 字用。1.28 Tones originated from the music for Qinhanyue （Music of the Qin Dynasty and the Hart Dynasty） pipa with 4 strings, 14 posts and a straight neck. 2. All the Yanyue Tones in the Sui Dynasty and the Tang Dynasty didnot come from abroad. Some of them came from Chinese local music. 3. Yuchilü in the Tang Dynasty [Huangzhong （the first pitch in Chinese ancient Lülü scale ）=e], Tiechilii in the Song Dynasty （Huangzhong =^#f）.4. Zhengsheng was used as the Fundamental Tone in the Song Dynasty and Xiazhi in the Tang Dynasty. 5. Suzhipo 7 Tones and Yanyue 4 Tones are “scales”. 6. There are 4 scales in Weidiaomingzhi and only one in Zhidiaomingzhi . 7. The use of 4 Dan in the Liao History is the same as that in Suizhi.“Dan” consists of 7 tones and can never be used as “Yun”.

关 键 词：燕乐探微 丘琼荪 燕乐28调 玉尺律 铁尺律 正声基调 下微基调 苏祗婆七调 音阶 调式 声调 转调乐 旋宫乐 随调音阶 固定音阶 之、为调名制 旦 

分 类 号：J609.2[艺术—音乐] I207.23[文学—中国文学]