朱载堉操缦学说阐微  

Exploring Zhu Zaiyu's Theory of Caoman

作　　者：刘晨阳 谷杰[1] LIU Chenyang;Gu Jie(Musicology Department,Wuhan Conservatory of Music,Wuhan 430000)

机构地区：[1]武汉音乐学院乐律学与音乐文献学研究中心,武汉430000

出　　处：《文化艺术研究》2023年第5期62-72,114,共12页Studies in Culture and Art

基　　金：湖北省教育厅科研计划项目“古典诗词湖湘派吟诵与吟唱研究”(项目编号:B2020123);武汉音乐学院科研与创作项目“古诗词吟诵与吟唱研究”(项目编号:2020YJKT02)的研究成果。

摘　　要：朱载堉的操缦学说来自其家学。其父朱厚烷复爵之后,父子二人合撰《操缦》《旋宫》等谱,后结集成《操缦古乐谱》。在其后的《律吕精义》中,朱载堉提出了一整套操缦学说及实践方法,其内容包括:操缦的定弦、调律、节奏和指法,操缦的字令口诀和乐谱谱例等。其学说将学习操缦作为理解经义的起点,将操缦实践指向君子修身崇德的目标,为后世的乐教和乐学树立了典范,对当下音乐教育与音乐实践也具有重要的启示作用。Zhu Zaiyu inherited and developed his theory of Caoman through his family education.After his father,Zhu Houwan,resumed his post,the father and son collaborated on writing music scores,including Caoman and Xuangong,which were compiled into Caoman:Scores of Qin.In his Essentials of Music,Zhu Zaiyu proposed Caoman as a series of musical theories and practices encompassing strings,tones,rhythms,fingerings,mnemonics,and music scores.He advocated for Caoman to be the foundational point of music education,as well as the moral aspiration of a literati.Caoman continues to provide inspiration for subsequent music education,musicology,and modern practices.

关 键 词：朱载堉 操缦 琴瑟 弦歌 

分 类 号：J632.3[艺术—音乐]