先秦赵国乐悬编列研究  

Research on the Arrangement of YueXuan in Zhao Guo During the Pre-Qin Period

作　　者：贾伯男 Jia Bonan

机构地区：[1]华南师范大学音乐学院

出　　处：《中国音乐》2025年第1期49-60,共12页Chinese Music

摘　　要：赵国作为战国七雄之一,其军事、国力冠绝一时,但代表上层音乐文化核心的乐悬却鲜为人知。摆放上,赵国乐悬方位较为规整,均放置在墓主人脚下,体现了乐悬的地位。数量上,只有编镈出现了大规模的僭越,从音域、数量、调音锉磨手法都做了大胆的突破。相反,多数甬钟、纽钟、编磬数量不仅没有突破,与其他地区相比反而保守。组合上,呈现出多样性特点,未出现统一的态势,但均为“金石”模式;大型组合乐悬在春秋晚期到春秋战国之交到达顶峰,之后迅速衰落。赵国乐悬在早期有所突破,晚期快速衰落,虽无统一规范,但也有一定的标准。这种乐悬较早衰落的情况在东周时期较为少见。As one of the seven great powers during the Warring States Period,the State of Zhao was renowned for its military strength and national influence,yet its music culture,represented by the Yuexuan,remains relatively obscure.This study examines the arrangement and characteristics of Yuexuan from three perspectives:instrument placement,quantity,and combination.In terms of placement,musical instruments in Zhao tombs were consistently arranged at the feet of the tomb owner,reflecting the status of Yuexuan in ritual contexts.Regarding quantity,Bo bells were notable for their bold innovations in range,quantity,and tuning techniques,while Yong bells,Niu bells,and braided chimes remained conservative compared to those in other regions.In terms of combination,Yuexuan exhibited diverse characteristics with no unified trend but adhered to the"gold and stone"mode.The large-scale combinations of Yuexuan instruments reached their peak during the late Spring and Autumn Period and the transitional phase to the Warring States Period,followed by a rapid decline.Despite its early breakthroughs and subsequent decline,the Yuexuan of Zhao displayed a certain degree of standardization,albeit without a unified system.Such early declines in Yuexuan practices were rare in the Eastern Zhou Dynasty,marking Zhao's music culture as a distinctive case in ancient Chinese history.

关 键 词：编列 乐器摆放 乐悬规模 器乐组合 

分 类 号：J609.2[艺术—音乐]