摘要
《中国音乐文物大系·北京卷》收录的众多音乐文物中,有一件中国历史博物馆(今中国国家博物馆)藏的传世清代"笛色谱字调定位尺"。该尺由紫檀木质地的一块木板和一个木条拼合而成,木板中间开有凹槽,木条嵌于木板槽内,可左右拉动。木板与木条上均刻有若干工尺谱字,可通过移动木条改变两行工尺谱字对应关系,实现工尺调名的迅速定位,方便定调与转调应用。本文拟结合传统音乐工尺调名体系的应用特点,以及明清相关宫调理论的演变情况,考察"笛色谱字调定位尺"的"字调""出调"名词含义,探讨该定位尺的设计原理、使用方法和乐学内涵,揭示这一宫调物质形态背后隐含的工尺调名体系变迁及其与音乐实践的互动关系。
There are amount of musical cultural relics recorded in the Beijing Volume of the Great Series of the Chinese Musical Antiques, in which Gongche scales＇ locating ruler used on flute musical instruments was handed down from Qing Dynasty and collected and conserved in the National Museum of China. The ruler is pieced by a padank board and a padauk bar. There is a groove in the middle of the board, where the bar is embedded. So the bar can move in the groove flexibly. Both the board and the bar engrave Gongche scales. When moving the bar, the correspondence of scales in different lines would be changed, which could rapidly locate the name of tunes of Gongche and be convenient for setting the tone and modulation. The article con- siders the application characteristics of traditional Gongehe tune name system and development of theories of the Modes of Chinese Ancient Music in Ming and Qing Dynasty, and then study the definition of ＂Zidiao＂ and ＂Chudiao＂ of the Locating Ruler. It also discusses the design principle, usage and musical connotation of the ruler. Finally, the author reveals the interactions between musical practice and the changes in the Gongehe system about the name of tunes.
出处
《民族艺术研究》
CSSCI
2015年第1期128-136,共9页
Ethnic Art Studies
基金
2010年度国家社会科学基金艺术学项目"宋以来宫调理论变迁及其与音乐实践的关系"(立项批准号10CD082)阶段成果
关键词
“笛色谱字调定位尺”
工尺七调
正宫调
小工调
俗乐二十八调
音乐考古
音
乐实践
Gongche scales＇ locating ruler used on flute musical instruments
seven keys of Gongche sys-tem
28 tunes of folk music
music archaeology
musical practice
