宋、明“十二律四清声说”的尊卑之义与自然之理  

Order of Seniority of"Four Tones of Twelve Temperaments" in the Song and Ming Dynasties and the Natural Reason

作　　者：谷杰[1] 

机构地区：[1]武汉音乐学院

出　　处：《浙江艺术职业学院学报》2013年第1期24-30,共7页Journal of Zhejiang Vocational Academy of Art

摘　　要：宋人称为古制的编悬"十二律四清声"存在的原因,在宋代和明代学者的评议中显露端倪。在汉唐至宋明的史料中,编悬设为"十二律四清声"除了囿于政治伦理意义的所谓"五音之尊卑之说"外,所谓"人声为本、八音克谐"的观点是最具合理性的。The existence of＂four tones of twelve temperaments＂of ancient Chinese percussion instrument in the Song dynasty can be seen why in the comments by scholars of the Song and Ming dynasties.In the historical materials from the Han and Tang to the Song and Ming dynasties,＂four tones of twelve temperaments＂of ancient Chinese percussion instrument were set confined to the so-called＂the order of seniority of the five tones＂in the political and ethical significance.Besides,the viewpoint of＂voice oriented and eight harmonic tones＂sounds the most reasonable.

关 键 词：十二律四清声 正声 子声 五音尊卑 八音克谐 

分 类 号：J612.1[艺术—音乐]