摘要
曾经盛兴于唐、宋两代的俗乐二十八调的乐调体系,由于在唐的相关文献中叙述简扼,关于它形成问题的讨论,如俗乐二十八调体系起源于龟兹乐或琵琶调等的说法,由于缺乏历史文献的直接依据和支撑,显得论理的底气不足。本文将通过龟兹乐调及隋代应用的乐调,与唐俗乐调的结构以及调位高度等几个方面的比较,来深入讨论唐俗乐律调的起源,以及为什么中国的俗乐调只有七宫均四调等问题。
Due to the lack of detailed descriptions in documents about the Tang Dynasty,discussions about the 28-mode system of secular music thriving in the Tang and Song Dynasty have not witnessed statements strong enough.Especially,because of insufficient evidence from the historical data,arguments on its formation usually look weak.This paper investigates into the origin of the mode of secular music in the Tang Dynasty by comparing its structure and tonality with the mode of Qiuzi music and that applied in the Sui...
出处
《文化艺术研究》
2009年第6期36-47,共12页
Studies in Culture and Art
关键词
黄钟
律高
俗乐调
琵琶调
龟兹乐
哑钟
下徵
调名
huangzhong
tonality
modes of secular music
modes of pipa
qiuzi music
yazhong
xiazhi
tune name
