敦煌乐谱的名称演变及其学术内涵  

The Evolution of the Names of Dunhuang Tablatures and Their Academic Connotations

作　　者：温和 Wen He

机构地区：[1]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）》2024年第3期85-101,共17页Art of Music(Journal of the Shanghai Conservatory of Music)

基　　金：2021年国家社科基金艺术学重大项目“中国少数民族器乐艺术研究”子课题“中国少数民族器乐作品创作改编研究”阶段性成果,项目批准号:21ZD20。

摘　　要：自1938年林谦三、平出久雄的《琵琶古谱之研究》一文发表以来,关于伯希和从敦煌藏经洞获得并复制赠送内藤湖南的P.3808乐谱的研究,便成为中古音乐史研究中的一个专题。围绕这份被称为“敦煌曲谱”的25首乐谱之谱属、谱字符号、节奏等音乐问题及写本的考察,掀起了“敦煌曲谱”研究的热潮,特别是在1981年叶栋发表题为《敦煌曲谱研究》的学术报告之后,“敦煌曲谱”更为引人注目。除P.3808外,20世纪50年代赵元任在法国国家图书馆发现的P.3539及1960年代左景权发现的P.3719两种敦煌文书,也因P.3808的研究被带入学术视野。从学术史的角度看,P.3539(乙谱)呈现出三种材料的谱属问题;P.3719(丙谱)表明三种材料与敦煌舞谱有关联;将P.3808、P.3539、P.3719分别作为“敦煌曲谱”的甲、乙、丙谱进行对照性研究,可实现任二北在《敦煌曲初探》中提出的“舞缘乐制,步趋相衔”的研究理想,直接促成与“敦煌舞谱”相对应的“敦煌乐谱”之称谓成为三种曲谱新的专用名称。回顾从“敦煌曲谱”到“敦煌乐谱”这一名称的演变,可以看出关于敦煌乐谱学术研究道路的曲折、学术方法的差别及与之相对应的学术内涵。Since Hayashi Kenzo and Hisao Hirae jointly published the article"The Study of the Ancient Score of the Pipa"in 1938(P.3808),the study of Pelliot and the Music Scores numbered P.3808 has become a topic in the study of medieval music history.Surrounding this document,called Dunhuang Qupu Tablatures,"the study of the musical problems such as the notation types,the character word symbols,the rhythm and the manuscript of its 25 pieces,which became a flurry of research.Especially in 1981,Ye Dong's academic report"Research on Dunhuang Qupu Tablatures"further promoted the academic attention to this topic.Accompanied by P.3808's study called(A),the P 3539 Dunhuang score document was(called B)discovered by Zhao Yuanren in the State Library of France in the 1950s and Two Dunhuang Score Documents(P 3719)discovered by Zuo Jingquan in the 1960s(No.3719).At the time,studies of P.3808 again aroused academic attention.From the perspective of academic research history,P.3539 document(B)reveals the problems of genera of three document materials;the third score P.3719 reveals the relationship between the three document materials and the Dunhuang dance scores.By putting P.3808,P.3539,P.3719 together for contrast,we can realize Ren Erbei's ideal as in his"Preliminary Study of Dunhuang Music,"i.e."Music system out of dance,linked step by step The ideal of research can use"Dunhuang music notation"'to replace"Dunhuang dance notation"This title refers to all the three types of notations here.Looking back from the way"Dunhuang Qupu Tablatures"to"Dunhuang Music Notations.,"i.e.from the evolution of this name,we can find the twists and turns in the academic research of Dunhuang music scores,the differences in academic methods and the corresponding deepening academic connotations as well.

关 键 词：敦煌乐谱 名称演变 《浣溪沙》 陈应时 掣拍说 

分 类 号：J613[艺术—音乐]