摘要
南朝宋律学家何承天的律学理论历来被称作“何承天新律”。根据《宋书·律历志》《隋书·律历志》等相关文献,结合对“律”“率”二字在古代律学理论中含义的分析,何承天的律学理论更恰当的称名应为“何承天新率”。朱载堉将自己的理论命名为“新法密率”,是为了强调“密率”所代表的圆周率的含义。何承天新率之所以成为朱载堉发明新法密率的重要基础,原因在于二人对“率”在音乐中的意义有相同的理解。“何承天新率”与朱载堉“新法密率”等具有中国特色的乐律学学术术语对于构建中国乐律学话语体系意义重大。
The musical temperament theory of He Chengtian,a theorist from the Southern Song Dynasty,has traditionally been referred to as “He Chengtian′s New Lü(律)”.However,based on analyses of relevant documents such as the Song Shu(Book of Song) and the Sui Shu(Book of Sui),as well as the meanings of the characters “律”(lü) and “率”(lü) in ancient musical temperament theories,a more appropriate name for He Chengtian′s theory should be “He Chengtian′s New Lü(率).” Zhu Zaiyu named his theory “Xin Fa Mi Lü” to emphasize the meaning of “mi lü” as it represents the value of Pi(π).The reason why He Chengtian′s New Lü(率) became the foundational basis for Zhu Zaiyu′s invention of “Xin Fa Mi Lü” is due to their shared understanding of the significance of “Lü(率)” in music.The terms “He Chengtian′s New Lü(率)” and Zhu Zaiyu′s “Xin Fa Mi Lü” are significant in constructing a Chinese discourse system for musical temperament studies.
作者
吕畅
Lyu Chang(Department of Musicology at Sichuan Conservatory of Music,Chengdu,Sichuan,610021)
出处
《民族艺术研究》
2024年第3期88-96,共9页
Ethnic Art Studies
基金
2020年度国家社科基金重大项目“东亚古代乐律学研究”(项目批准号:20ZD219)的阶段性研究成果。
关键词
何承天新律
何承天新率
新法密率
乐律学话语体系
He Chengtian's new Lü(律)
He Chengtian′s new Lü(率)
Xin Fa Mi Lü
musical temperament discourse system
