《律音汇考》的琴调命名与用调规范解析  

Qin Diao and Tuning Norms in Qin Handbook Liiyin Huikao

作　　者：谢鹏飞 Xic Pengfei

机构地区：[1]中国艺术研究院,北京100029

出　　处：《音乐文化研究》2024年第4期125-137,共13页Music Culture Studies

基　　金：2024年度国家社科基金艺术学重大项目“琴学文化体系研究”(项目编号:24ZD008)第三子课题“古琴律学知识体系研究”(子课题负责人:李玫研究员)阶段性成果。

摘　　要：清中叶学者邱之稑所著《律音汇考》,以《律吕正义》中所载“康熙十四律”理论为其撰著立说的理论指导。在其卷七、卷八收录五种《风雅十二诗谱》,分别为《律吕谱》、朱子《仪礼经传通解》所传原谱、《琴谱》《瑟谱》《声字谱》。卷八的两组风雅十二诗《琴谱》,一组用于乡饮酒礼、乡射礼,一组用于燕礼、大射礼。两组琴谱中琴调以“均”为名,并旁注调弦法。此种琴调命名与用调规范,不仅涉及君臣礼仪的礼制规定下的用调规范,也蕴含着礼乐思想。The qin handbook Liiyin Huikao,written by Qiu Zhiqi during the mid-Qing dynasty,is guided by the theoretical framework of“Fourteen Modes of Kangxi”recorded in Yuzhi LüLüZhengyi.VolumeⅦandⅧof the book include five versions of Fengya Shier Shipu:Luluscore,Zhu Zi’s original score Yi Li Jing Zhuan Tong Jie,qin score,se score,and shengzi score.VolumeⅧfeatures two sets of qin score of Fengya Shier Shipu,one for the village drinking and archery ritual,and the other for the banquet ritual and the grand archery ritual.In these scores,qin diao are named using the term yun,with annotations on string tuning methods.This naming and tuning system reflects not only the ritual norms but also the Confucian ideals of ritual and music.

关 键 词：康熙十四律 调弦法 《律音汇考》 琴调 宫逐羽音 

分 类 号：J609.24[艺术—音乐]