摘要
清华简《五音图》是一篇新见的先秦乐书,具有重要的音乐史意义。《五音图》五组声名的排列,可与“宫-徵-商-羽-角”的五声相生次序以及“宫-商-角-徵-羽”的次序相呼应,而与五行无关。修饰词“上”“大”“右”“逝”均表示某正声的低八度,修饰词“下”“小”“左”“反”均表示某正声的高八度。“左”之所以等同于“小”“下”,“右”之所以等同于“大”“上”,当与古人的方位观念有关。《五音图》和《灵枢》存在交集,暗示《灵枢》很可能吸收了类似于《五音图》的某种文献。《五音图》重在表现五声相生的关系,它以图示的形式,呈现五声的生成以及各组声名的相应内容。图中看似杂乱的声名罗列,仍有其内在的逻辑与体系可循。
The“Wuyin Tu五音图”(Pentatonic Scale Diagram)in the Tsinghua Manuscripts is a newly discovered pre-Qin music text,which is of great significance in music history.The arrangement of the five groups of scales in the“Wuyin Tu”corresponds to the mutual generation sequence of the five scales“gong宫-zhi徵-shang商-yu羽-jue角”and the sequence of“gong-shang-jue-zhi-yu,”which has nothing to do with the wuxing.The modifiers such as shang上(up),da大(big),you右(right)and shi逝(going)indicate a lower octave of a proper scale,while words like xia下(down),xiao小(small),zuo左(left)and fan反(back)indicate a higher octave of a proper scale.The reasons why“left”is equivalent to“small”and“down”and why“right”is equivalent to“big”and“up”are related to the ancient people's concept of orientation.There are intersections between the“Wuyin Tu”and the Ling Shu(Miraculous Pivot),implying that the later probably incorporated similar scale tables like the“Wuyin Tu.”The“Wuyin Tu”focuses on demonstrating the mutual generation relation between the five scales,and it shows the generation of the five scales and the corresponding contents of each group of scales in the form of diagrams.The seemingly chaotic arrangement of the scales in the diagram still has its own internal logic and system to follow.
出处
《中国文化研究》
北大核心
2023年第4期40-51,共12页
Chinese Culture Research
基金
北京市社会科学基金青年学术带头人项目“出土《诗》类文献研究”(21DTR035)
“古文字与中华文明传承发展工程”规划项目“清华简与儒家经典的形成发展研究”(G3458)的阶段性成果。
关键词
清华简
《五音图》
音乐史
Tsinghua manuscripts
"Wuyin Tu"
music history
