朱载堉“新法密率”创制路径考  

An Examination of Zhu Zaiyu's Path to Creating the"New Fine Ratio"Method

作　　者：许馨 Xu Xin

机构地区：[1]中国国家博物馆,北京100006

出　　处：《艺术探索》2024年第3期95-103,共9页Arts Exploration

基　　金：2021年度国家社科基金艺术学重大项目“黄河流域音乐文化多元一体格局研究”(21ZD18)。

摘　　要：中国古代律学以三分损益法中“黄钟不能还原”的问题为动力不断发展。中国古代乐人实践群体和文人书写群体的分离,造成中国古代音乐研究理论和实践的相对独立。朱载堉“新法密率”的创制,既得益于古代学术和传统的积淀,又辩证地继承了既往乐、律研究和实践的成果,更重要的是,他敢于打破成见、坚持真理的选择。The development of ancient Chinese pitch-pipe theory known as shi'er lühas been propelled by the problem of the"inability to restore huangzhong(the fundamental note)".The separation between the practical group of ancient Chinese musicians and the literati group resulted in a relative independence between theory and practice in studies on ancient Chinese music.Zhu Zaiyu's creation of the"New Fine Ratio"method benefited not only from the accumulation of ancient scholarship and tradition but also from a dialectical inheritance of previous achievements made both in musical performance and pitch-pipe studies.This new approach would not have been made possible without his courage to break away from previous prejudices and adhere to the truth.

关 键 词：中国传统乐学 朱载堉 新法密率 理论律学 应用律学 

分 类 号：J609.2[艺术—音乐]