从相连同度或八度泛音看古代琴曲的纯律调弦  

Tuning in Just Intonation from Consecutive Harmonic Notes of the Same Pitch or an Octave Part

作　　者：谢俊仁[1] TSE Chun Yan

机构地区：[1]中国香港中文大学音乐系,中国香港999077

出　　处：《黄钟（武汉音乐学院学报）》2022年第2期83-89,167,共8页Huangzhong:Journal of Wuhan Conservatory of Music

摘　　要：研究古代琴曲调弦方式需审视不同弦的相连同度或八度泛音。据此,明朝《神奇秘谱》明确使用纯律调弦的乐曲并不普遍,只出现于正调的商、角、商角调以及一些外调。纯律调弦的正调琴曲,大部分以一弦为宫,除了D和A稍低,也有其他组合,亦灵活运用不相连的五度相生律泛音。明朝琴曲律制的选用并不是从理论角度考虑,而是跟随历代不同传承以及音乐感觉的变化形成了多元风格。This paper argues for the necessity to examine the consecutive unison or octave overtones for each string in the study of tuning for historical guqin music. In the Ming dynasty text Shenqi Mipu, just tuning is uncommon, which is only used on certain pieces with standard shang, jue or shang-jue tunings, in addition to certain pieces with non-standard tunings. Most standard just-tuned pieces place gong on String 1, with slightly flattened D and A, although other combinations exist, and flexible uses of inconsecutive Pythagorean overtones are also found. It can be seen that the tuning choices in Ming era pieces are not derived from theory, but diverse and based on their own histories and musicality.

关 键 词：古琴调弦 纯律 五度相生律 神奇秘谱 减字谱 

分 类 号：J609.2[艺术—音乐] J612