朱载堉“中声说”“清浊四声说”探微  

An Exploration of Zhu Zaiyu's “Theory of Medium Tones” and “Theory of Four Unvoiced and Voiced Tones”

作　　者：谷杰[1] 

机构地区：[1]武汉音乐学院音乐学系,湖北武汉430060

出　　处：《南京艺术学院学报（音乐与表演版）》2018年第2期18-23,共6页Journal of Nanjing Arts Institute:Music & Performance

摘　　要：朱载堉的"中声说"和"清浊四声说"见于《律吕精义》外篇诸卷,主要针对历代造律得失与旋宫兴废引发其辨析和评论。其中注重吸收前世经典的合理成分,将"以人声定律"的观点贯穿论辩之中,提出"倍半之律则未尝无""四清声不可废""应钟之上非无清声,黄钟之下非无浊声"等一系列有价值的观点,系统地阐述其"中声说"与"清浊四声说",并以见存太常乐谱加以验证。在上述论辩中,朱载堉历数了隋以来旋宫理论所经历的曲折史实,其中涉及隋"唯奏黄钟一宫"之缘由、宋以来"四清声之争"等诸多疑难问题。这些为我们深入了解历史上旋宫诸说的是非曲直提供了重要的线索。Elaborated in Outer Chapters of his book The Essence of Pitch Pipes, Zhu Zaiyu's "theory of medium tones" and "theory of four unvoiced and voiced tones" mainly analyze and discuss the successes and failures of tones from past dynasties and the changes of keys. His theories take in the rational elements of previous classical arguments, and he maintains that "the tone should be determined by human voice". He proposes many valuable ideas, such as "over tones and semitones are not necessarily nonexistent", "four unvoiced tones cannot be abandoned", "there are unvoiced tones above Yingzhong temperament and there are voiced tones below Huangzhong temperament", etc. He also systematically elaborates on his "theory of medium tones" and "theory of four unvoiced tones and four voiced tones" and verifies them with existing Taichang Music Score. In these arguments, Zhu Zaiyu looks back at the twists and turns of the theory of change of keys since Sui Dynasty, including many difficult questions, such as the cause of "the one and only Huangzhong Gong-mode" in Sui Dynasty and "arguments of four unvoiced tones" Since Song Dynasty. It provides an impor tant clue to help us have an in-depth understanding of various theories of change of keys in history and distinguish right from wrong.

关 键 词：朱载堉 《律吕精义》 中声 四清声 四浊声 旋宫 

分 类 号：J612.1[艺术—音乐] J609