摘要
隋代"开皇乐议"之中,郑译的"八十四调说"字斟句酌、环环相扣,而不乏真知灼见。其中"三声乖应"、"三声并戾"与"七十七音,例皆乖越"诸说,反映出郑译的旋宫说尤重"宫为君、商为臣、角为民"的规则,结合近年来相关研究成果,可以更深入地解析这段史料的涵义。
In Kaihuang Music Discussion of the Sui dynasty, Zheng Yi＇ s argument of ＂eightyfour tones＂ is careful ly worded and is with insight. It involves a lot of temperament issues and reflects the music system in early Sui dynas ty to a certain extent. The literature is particularly prized and many scholars interpret it, especially some of the key terms Zheng Yi used, such as the discrimination of connotations of ＂discordant three tones＂ and ＂dislocation of three tones＂. The study on xuangong in recent years is helpful for the reinterpretation of Zheng Yi＇ s music theory and re veals the connotations of ＂discordant three tones＂, ＂dislocation of three tones＂ and ＂erroneous seventy tones＂.
出处
《浙江艺术职业学院学报》
CSSCI
2013年第4期6-13,共8页
Journal of Zhejiang Vocational Academy of Art
关键词
隋
开皇乐议
三声乖应
三声并戾
七十七音乖越
下徴调
the Sui dynasty
Kaihuang Music Discussion
discordant three tones
dislocation of three tones
errone-ous seventy tones
xiazhi tune
