从复孤柱与《琵琶诸调子品》看唐代琵琶孤柱的乐学意义  

Music Significance of the Tang Dynasty Pipa’s Short Fret:As Reflected in the Double Frets and the Pipa Fret Tunings for Various Tonalities

作　　者：温和 Wen He

机构地区：[1]中国美术学院 [2]浙江音乐学院音乐学系,杭州310024

出　　处：《音乐艺术（上海音乐学院学报）》2023年第2期14-23,M0003,共11页Art of Music(Journal of the Shanghai Conservatory of Music)

基　　金：2022年度国家社科基金艺术学重大项目“中国传统音乐古谱研究”阶段性成果,项目批准号:22ZD13。

摘　　要：中国五代时期音乐文献的孤柱,原是琵琶类乐器上用以升高音律的临时性设置,但出现在新疆吐鲁番胜金口7号佛寺及山西稷山青龙寺考古图像上的复孤柱,则进一步表明这种临时设置具有独立的乐学内涵。复孤柱与孤柱一样,是在前一音高基础上升高半音的柱制增设,故通过分析唐传《琵琶诸调子品》可以证实,孤柱与复孤柱的设置都是为了唐代琵琶类乐器在两个宫调之间转换的方便,故而具有乐学意义。The short fret on the first string, found in the music literature of the Fifth Dynasty in China, was originally a temporary device used to raise the pitches on pipa. Images appeared in the No. 7 Buddhist Temple of Shengjinkou in Turpan, Xinjiang and the Qinglong Temple of Jishan in Shanxi;the images’ descriptions of the double frets have independent musical connotations. Through the analysis of Tang dynasty’s Pipa Fret Tunings for Various Tonalities, it can be confirmed that the setting-up of the fret and the double fret aimed at the convenience of the mode modulation of pipa-typed instruments. This is just where the meaning of music learning is.

关 键 词：唐代琵琶 孤柱 复孤柱 乐学意义 

分 类 号：J609.2[艺术—音乐]