中国乐器“笙”的合竹音与传统和音的衍化关系研究  

Discussion on the Relationship between the Synthesis of Bamboo Sound of the Chinese Instrument Sheng and the Evolution of Traditional Harmony Sound

作　　者：苏博 Su Bo

机构地区：[1]苏州科技大学天平学院艺术学院,江苏苏州215009

出　　处：《南京艺术学院学报（音乐与表演版）》2020年第4期67-70,I0007,共5页Journal of Nanjing Arts Institute:Music & Performance

基　　金：江苏省高校哲学社会科学项目“‘笙’在历史中形制的变迁与演奏艺术的发展研究”(项目编号:2017SJB2227)结项论文之一。

摘　　要：在漫长的岁月中,笙发展出了一套独有的演奏体系,这种独有的演奏体系是笙演奏之根本,我们将之称为“传统和音”。在中国的唐代,笙则运用另一种被称为“合竹音”的演奏体系,在1400年后的今天,这种演奏体系被完整地保留并仍然活跃在日本的传统音乐中,本文将对唐代“合竹音”与“传统和音”进行深度剖析,并将唐代笙、日本笙和明代笙的管位、音高和演奏模式等方面进行对比,旨在系统地阐述并论证唐代“合竹音”与“传统和音”的衍化关系。In the long years,Sheng has developed a unique performance system.This unique performance system is the root of Sheng’s performance,which we call"traditional harmony".In the Tang Dynasty of China,Sheng used another performance system called"He Zhu Yin".After 1400 years,this performance system has been completely preserved and still active in Japanese traditional music.This essay will make a deep analysis of"He Zhu Yin"and"traditional harmony"in Tang Dynasty,and compare the pipe position,pitch and performance mode of Sheng in Tang Dynasty,Japan Sheng and Ming Dynasty Sheng,with a view to systematically expound and demonstrate the relationship between"He Zhu Yin"and"traditional harmony"in Tang Dynasty.

关 键 词：唐代“合竹音” 传统和音 演奏模式 衍化关系 

分 类 号：J60[艺术—音乐] J632.12