缅甸传统赛外乐器的乐律研究——东南亚民族乐器与乐律实地考察之二  

Study on the Music Temperament of Myanmar Traditional HsaíngWaíng Instrument

作　　者：饶文心[1] 

机构地区：[1]浙江艺术职业学院音乐系

出　　处：《黄钟（武汉音乐学院学报）》2015年第3期70-80,共11页Huangzhong:Journal of Wuhan Conservatory of Music

基　　金：国家社科基金艺术学项目(编号10BD032)<泰国柬埔寨缅甸编锣乐队与乐器的乐律研究>阶段性成果

摘　　要：旋律性固定音高击奏体鸣乐器是东南亚国家民族乐器的显著特征,此类体鸣乐器在东南亚诸国尽管形制结构大体一致,然乐律及其音阶构造却各有差异。缅甸赛外乐队旋律性固定音高体鸣乐器的音律体现着缅甸民族的乐律思维和音高观念。经对缅甸曼德勒木偶剧场、传统音乐学校、民间赛外乐户共五支赛外乐队的音律实测与数据分析,表明缅甸传统乐律存在着一个统一的音阶结构,其各音程均不是某一个精确的固定音值,或者说各音级之间的音高关系略呈上下波动。该音阶结构与所谓七平均律无涉。The melodic fixed pitch idiophones is a salient features of traditional musical instruments in Southeast Asian countries. Even this kind of idiophones in Southeast Asian countries are similar with the shape structures, but their music temperament and scale structure are very different. The hsaingwaing is a traditional Burmese folk musical ensemble, its musical temperament of melodic fixed pitch idiophones embodies the musical temperament thinking and pitch ideas of Myanmar nation. Through making an on-the-spot investigation and measurement of musical temperament of puppet theater, traditional music school, and five folk hsaingwaing ensembles in Myanmar Mandalay, the data analysis showed that there had been a uniform scale structure for Myanmar traditional musical temperament, with each interval not a certain precise fixed pitch value, or the pitch relationship among each pitch class fluctuates slightly. This scale structure had nothing to do with the so-called seven-note equidistant tuning.

关 键 词：赛外乐器 音阶结构 波动性音高 非精确大小二度音程 

分 类 号：J607[艺术—音乐]