《敦煌乐谱》间奏剥离后的主旋律——解译敦煌乐谱的最后一把钥匙  

The Main Melodies after the Intermezzos of the“Dunhuang Tablatures”are Stripped Away-The Last Key to Interpreting the Dunhuang Tablatures

作　　者：应有勤[1] Ying Youqin

机构地区：[1]上海音乐学院,上海200031

出　　处：《音乐艺术（上海音乐学院学报）》2023年第2期50-77,M0003,共29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：解译《敦煌乐谱》的四个步骤如四把钥匙:一是推出全部曲目的三种定弦;二是定义“正拨”为一拍和“正返拨连运”为一拍,推出各曲音高时值,则乐谱的节拍全部确定;三是认可陈应时小谱字的节奏;四是借鉴“负熵”的有序概念、“计算性思维”和“思维导图”等方法,根据若干音型的“相同性”“相似性”等寻找乐谱的“间奏”,识别“翻高翻低八度”旋律,最终显现乐曲或词曲的主旋律。敦煌25首曲的前两首《品弄》属热指练习。陈应时填词的3首歌曲为《慢曲子西江月》《伊州》《又慢曲子伊州》,把唱词谱和琵琶伴奏谱分声部记谱,显现出词曲旋律。陈应时提出“间奏”功能是满足词曲乐句长音的拍数。因此,对其他20首曲“间奏”的研究,并加以剥离有助于敦煌乐谱的译谱。以此方法填词的曲有第3、12曲《倾杯乐》、第20曲《长沙女引》等曲。The first 2 of the 25 pieces of the Dunhuang Tablatures, “Pin Nong”, are for finger warm-up. Chen Yingshi’s interpretations of “Xijiang Moon”, “Yizhou” and “Slow Song Yizhou” stripped away the accompaniment of the pipa and showed the main melody;he believed that the existence of the lute accompaniment is to make up the number of long notes in the phrase. The other 20 pieces of the Dunhuang Tablatures have “intermezzos” and if stripped them down, they can also show their main melodies, such as the 3rd and 12th songs “Merry Pouring Cup” and the 20th song “Introduction to Changsha Ladies”.

关 键 词：《敦煌乐谱》 解译 间奏 

分 类 号：J609.2[艺术—音乐]