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作 者:黄大同 HUANG Datong(School of Music,Wenzhou University,Wenzhou,Zhejiang 325035;Research Institute of Yangtze Delta Intangible Cultural Heritage in Zhejiang Province,Hangzhou 310024;Tourism College of Zhejiang,Hangzhou 311231)
机构地区:[1]温州大学音乐学院,浙江温州325035 [2]浙江省长三角非物质文化遗产研究院,杭州310024 [3]浙江旅游职业学院,杭州311231
出 处:《文化艺术研究》2024年第6期34-52,114,共20页Studies in Culture and Art
基 金:国家社科基金重大项目“东亚古代乐律学史研究”(项目编号:20&ZD219)的阶段性成果。
摘 要:曾侯乙编磬铭文被复原后,令人惊讶地显现出,其与曾侯乙编钟楚系钟铭具有一致的由鼓音轮流为宫、为商、为角、为徵、为羽的结构;同时其鼓音虽属浊姑洗均,与编钟鼓音的姑洗均相差一律,但两者实为同音异名的等音;其以浊姑洗(实为姑洗)与新钟为正副中心的十二均旋宫关系,及姑洗、新钟与间音的三匣磬石分类,也完全扣合了编钟以姑洗与新钟为正副坐标的十二均旋宫框架。这种钟磬合奏的设计表现,说明编磬铭文的主题、内容与编钟无二,是一个以十二鼓音生五声之法而产生,由十二均每均五声所组成的六十声系统。乐工可通过这六十声磬铭的提示,在十二磬石鼓音的音列上快速确定某均曲调用声,并能以“徵[甫页]为角”或“羽曾为宫”旋宫法的单件或连续磬石调换,与编钟共同奏响十二均中的任意一均乐曲。The restoration of the Zenghouyi qing inscription reveals an unexpected unity with the Zenghouyi zhong inscription within the Chu system.Both share a structure where the drum notes are used as gong,shang,jiao,zhi,and yu in turn.Although in the former,a drum note is referred to as "zhuo guxi",it's the same as the guxi in the latter.The former's twelve-pitch xuangong framework,with zhuoguxi and xinzhong functioning as the primary and secondary cores,and its "sanxia panshi" classification into guxi,xinzhong,and jianyin,corresponds to the twelve-pitch xuangong framework of the latter,with guxi and xinzhong functioning as the primary and secondary cores.These elements are part of the design for the zhong and qing ensemble,suggesting that the theme and content of the Zenghouyi qing inscription align with those of the zhong inscription,forming a sixtypitch system based on the twelve drum notes,each generating five pitches.Musicians could select swiftly from these sixty pitches to perform melodies of a certain scale,using the xuangong framework where zhifu is used as jiao and yuzeng as gong,to perform an ensemble with zhong.
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