唐教坊俗乐二十八调与白石歌曲旁谱宫调关系考论  

Relations between 28 Tone Tonalities of Music Institution in Tang Dynasty and Modes of Music Scores Written by Jiang Baishi

作　　者：周韬[1] 

机构地区：[1]湖北民族学院文学与传媒学院,湖北恩施445000

出　　处：《安徽师范大学学报（社会科学版）》2015年第2期217-226,共10页Journal of Anhui Normal University(Hum.&Soc.Sci.)

基　　金：国家社会科学基金西部项目"<白石道人歌曲>十七谱艺术形式研究"(12XZW011)

摘　　要：对白石歌曲旁谱的解读历来为治词乐之学和中国古代音乐史学者们共同重视。考察《白石道人歌曲》所用宫调发现,标注宫调者23首,其中19首的宫调名称均见录于唐代段安节《乐府杂录》二十八调胡部俗乐内。釐清唐代教坊俗乐二十八调的调性,探讨其与宋代燕乐二十八调以及《白石道人歌曲》用调之间的因革关系,是准确解读白石十七旁谱的理论依据。The interpretation of music of songs written by Jiang Baishi has always been focused by scholars committing to music theory of ci poems, and experts devoting to the research of Chinese ancient music his- tory. Based on the investigation on the modes of Songs Written by Baishi Taoist Priest, 23 songs had been lined out by mode names, among which modes of 19 songs had been recorded by Duan Anjie in the Tang Dy- nasty, within his description of “28 Tunes of minority folk music”, according to his written book Miscella- nea of the Music Institution. With the nature of the 28 tone tonalities for folk music of Tang Dynasty＇s royal music agency, explore their evolving relations either with the 28 tone tonalities of palace conviviality music in the Song Dynasty, Or the modes of Songs Written by Baishi Taoist Priest, which is the theoretical basis for accurate interpretation of the 17 tousle scores written by Jiang Baishi.

关 键 词：唐教坊胡部俗乐 二十八调 宋代燕乐 白石旁谱宫调 

分 类 号：J632.1[艺术—音乐] I207.23[文学—中国文学]