龟兹音乐和诗律略议  

A Brief Discussion of Qiuci Music and Versification

作　　者：潘涛 

机构地区：[1]慕尼黑大学历史和印度日耳曼语言学系

出　　处：《西域研究》2018年第2期108-118,150,共11页The Western Regions Studies

基　　金：国家社会科学基金重大项目"吠陀文献的译释及研究"(项目编号:17ZDA235);上海市教育委员会创新计划"<梨俱吠陀>全本译注及考释"(项目编号:2017-01-07-00-07-E00001)资助

摘　　要：本文重点研究《隋书》中所介绍的龟兹七声名字的源流。不同于以往学者对这些名称的研究,本文利用吐火罗语(2)文本(来自西格和西格灵所编写的《吐火罗语残篇》)、梵语文本和古汉语材料,进行深入的语文学和语言学研究,并借助古汉语音韵学,试图解释在《隋书》中所出现的"龟兹乐七调"的具体含义。所获得的龟兹七声进而与印度古典音乐的音进行对比,尤其参考梵文《戏剧论》(Ntyastra),Kudimiymalai碑铭和《歌宝事》(Sangītaratnkara)。基于对敦煌文书中出现的三种曲调的研究,本文对吐火罗语诗句前的名称进行了新的分析。The present article focuses on the name of seven tones in Qiuci music recorded in Sui Shu.Different from the previous researches on these names,this article utilises the Tocharian materials(Tocharische Sprachreste edited by Sieg and Siegling),the Sanskrit texts and the relevant ancient Chinese sources,and launches a philological and linguistic exploration of the possible underlying words,either Tocharian or Sanskrit,which is ultimately on the basis of their Middle Chinese pronunciation reconstructed for the names recorded in Sui Shu.The postulated Tocharian notes are then compared with their Indian counterparts in the classical Indian music,which are well documented in the famous musicological and theatric work Ntya s'stra,the Kudimiymalai inscription and Sangītaratnkara.Afterwards the names appearing before the Tocharian verses are given a new explanation based on a study of three interesting melodies recorded in a Dunhuang document.

关 键 词：龟兹 吐火罗 七声 曲调 《隋书》 

分 类 号：J609.2[艺术—音乐]