摘要
宋末元初熊朋来创作的《瑟谱·诗新谱》尽管以"复古"为主旨,力图弘扬周代诗教传统,但从其音乐本体形态看,熊氏不明古瑟调弦之制,不察二十八调闰角之实,以"从其月律"或"因其物性"作为宫调选用标准,其精心创制的《诗新谱》并非上古雅乐正宗,只能视为熊朋来的拟古之作,目的是建构熊氏自己理想的礼乐之境。《诗新谱》的上述特点可视为中国古代雅乐缩影,通过对这一个案的剖析,可使我们在当前复兴中华礼乐文明的大语境下,更加清醒地认知传统雅乐遗产的现代价值。
In the late Song and early Yuan dynasty,Xiong Penglai wrote the Book of Songs＇ New Score in the Se Scores. Although taking＂retro＂ as the theme and trying to promote the tradition of teaching songs in the Zhou dynasty,Xiong Penglai don＇t quite understand the tuning system of ancient se from the noumenon of music or runjiao mode of twenty-eight modes. His selection criteria of key-mode obey the temperament of each month or the features of nature. The Book of Songs＇ New Score is not the authentic ritual music,but a work of archaism to build Xiong＇s ideal realm of rites and music. These features of the Book of Songs＇ New Score can be seen as a microcosm of the ancient Chinese ritual music. Through the analysis of the book,we can more clearly understand the modern value of traditional ritual music heritage in the context of the revival of Chinese ritual civilization.
出处
《浙江艺术职业学院学报》
2016年第1期75-91,96,共18页
Journal of Zhejiang Vocational Academy of Art
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
熊朋来
《瑟谱·诗新谱》
雅乐
瑟
宫调
俗乐二十八调
礼乐文明
Xiong Penglai
the Book of Songs＇ New Score in the Se Scores
ritual music
se score
key-mode
twenty-eight modes of folk music
the ritual civilization
