摘要
唐宋燕乐调存在“之调式”“为调式”两种不同的命名系统,正确辨析不同时期的宫调称谓对理解燕乐宫调理论的内涵与本质有极其重要的影响。《唐会要》《乐府杂录》《新唐书》等文献中二十八调的称谓表述是统一的“之调式”体系,体现出唐人对雅、燕两种不同性质音乐的明确区分;《景祐乐髓新经》《梦溪笔谈》《补笔谈》中的二十八调则采用“为调式”命名体系,反映出北宋时期燕乐二十八调逐渐被纳入雅乐系统,在丰富了雅乐内涵的同时也被雅化改造;南宋复古崇雅意识强烈,遵从儒家正统雅乐制度的同时,深受民间俗乐及唐乐遗音的影响,采用“之调式”称谓体现出南宋雅乐俗化、燕乐雅化的音乐实践与乐调理论的折衷融合。
There are two different nomenclatures in the Yanyuediao [Yan Music Modes] in Tang and Song Dynasties, i.e., Zhidiaoshi [A Note of A Mode Method] and Weidiaoshi [A Note as Tonic Note Method]. Discrimination of tone designations of Gong-Mode of different periods has an extremely important impact on the understanding of the connotation and essence of the Gong-Mode of Theory in Yanyue. The 28-Modes in Tang Hui Yao [Historical Records of the Institutions of Tang] and Yue Fu Za Ji [Miscellaneous Records of the Musical Affair Office] was named in the same way, which as the Zhi Diao Shi System, reflecting the Tang people's clear distinction between Ya-Yue [elegant music] and Yan-Yue that of two different natures. While the Jingyou Yuesui Xinjing [Jingyou New Theory of Musical Temperament], Meng Xi Bi Tan [Brush Talks from Deram Brook] and the other literture adopt the Wei Diao Shi, reflecting the fact that the 28-Modes of Yan Music in the Northern Song Dynasty were gradually incorporated into the Yan Music system. The musician in Southern Song Dynasty complied with the orthodox Yayue system of Confucianism and adopted the appellation of Zhidiaoshi, which embodied the eclectic compromise of music practice and the theory of tonality that based on the secularization of the Ya Yue of Southern Song and the elegant tendency of the Yanyue.
出处
《北方音乐》
2024年第1期26-35,共10页
Journal of the Northern Music
基金
教育部人文社会科学规划一般项目“中国传统调式理论百年研究史研究”(编号:21YJA760087)的阶段性成果。
关键词
唐宋燕乐调
二十八调
之调式
为调式
宫调
Tang and Song Yanyue modes
28-Modes
Zhidiaoshi
Weidiaoshi
Gong-Mode
