论《敦煌乐谱》的乐调性质  

On the character of musical tune in Ancient Scores from Dunhuang

作　　者：庄永平[1] 

机构地区：[1]上海艺术研究所,上海201103

出　　处：《星海音乐学院学报》2016年第4期18-25,共8页Journal of Xinghai Conservatory of Music

摘　　要：文章从研究《三五要录谱》着手,来解开《敦煌乐谱》乐曲的调式之谜。像《伊州》等曲都是唐代有名的乐曲,历史文献明确记载为商调曲,但目前对《敦煌乐谱》的解译,却都是宫调曲,这个问题自林谦三研究以来,就一直成为一个解不开的谜。现在根据日本留存的、传自唐代的五种六式定弦法中,双调总体比壹越调、平调、大食调、黄钟调、般涉调要低大二度为基点,采用逆向追溯和相比对的方法,似乎可为这个难解之谜提供一个解决通道。From sango- yōroku,the paper want to uncover the riddle of mode in Dunhuangyuepu( Dunhuang tablatures). The piece Yizhou from Tang Dynasty show Gong mode in interpretation about Dunhuangyuepu, and Shang mode in other historical documents. This issue has not solved since study period of Kenzo Hayashi. According to five tuning methods survived of Tang Dynasty in Japan. The Sōjō always show major second higher than Ichikotsu [- cho],Hyōjō,Taishiki [- chō],shiki [- chō],and Banshiki [- chō]. We can Crack the puzzleby methods for example the opposite investigation and antitheses.

关 键 词：《敦煌乐谱》 《三五要录谱》 双调定弦法 越调定弦法 雅乐音阶 重乐音阶 宫调式 商调式 

分 类 号：J612[艺术—音乐]