北魏“旋宫说”探微  

A Probe into the"Xuangong"Theory in the Northern Wei Dynasty

作　　者：谷杰[1] Gu Jie

机构地区：[1]武汉音乐学院音乐学系

出　　处：《中国音乐》2024年第4期150-158,共9页Chinese Music

基　　金：2020年度国家社科基金艺术学一般项目“宋代乐律学与礼学关系研究”(项目编号:20BD059)的阶段性成果,项目支持单位:武汉音乐学院乐律学与音乐文献学研究中心。

摘　　要：北魏“旋宫说”,是指《魏书·乐志》中公孙崇、陈仲儒、祖莹探讨旋宫问题的言论或观点。其原文虽语焉不详,却不乏真知灼见。经研究发现,“公孙崇说”包容了多种形态的五声音律结构,与古琴音律可以通融,具有“理论框架”的意义;“陈仲儒说”与“祖莹说”可以互为补充,二者为旋宫系统的五声音律结构提供了具有统一标准的参照物。相对《礼记·礼运》郑玄注来看,北魏旋宫诸说的形成是旋宫理论发展的一个新的里程碑。The"Xuangong"theory in the Northern Wei Dynasty encompasses the views of Gongsun Chong,Chen Zhongru,and Zu Ying on the Xuangong problem as discussed in Weishu Yuezhi.Although the original texts are not extensively detailed,they offer significant insights.Research reveals that Gongsun Chong's theory includes various forms of pentatonic structures that align with the temperament of the Guqin,providing a"theoretical framework".Chen Zhongru's and Zu Ying's theories complement each other,together establishing a unified standard reference for the pentatonic structure of the Xuangong system.Compared to Zheng Xuan's annotations in The Book of Rites·liyun,the formation of the Xuangong theories in the Northern Wei Dynasty marks a new milestone in the development of Xuangong theory.

关 键 词：公孙崇 陈仲儒 祖莹 六十调 韵 均 

分 类 号：J612.1[艺术—音乐]