本文選題：先秦 + 青銅樂器��； 參考：《山東大學》2011年碩士論文

【摘要】：銅鐃是青銅樂器的一種,流行于商至西周時期,在北方主要分布于河南安陽殷墟和山東地區(qū),在南方主要分布于長江流域及嶺南地區(qū)。作為商周時期重要的青銅樂器,銅鐃一直是考古學界比較關(guān)注的研究課題。目前對銅鐃的研究主要在考古學領(lǐng)域及音樂學領(lǐng)域。本文收集全國各地已知出土地點的銅鐃,從考古學角度對其分型定式,并對相關(guān)問題展開探討。 本文的第一部分為緒論,主要對本文的選題緣由與研究對象的時空范疇、研究歷史及價值、研究方法與文章框架、銅鐃的名物考證進行討論。第二、三部分為鐃的類型學研究。第四部分對鐃的源流、傳播、合金成分、形制、音域音程及樂器器物組合等問題分析討論。 對銅鐃的類型學分析是本文的重點,也是進行其他相關(guān)討論的基礎(chǔ),本文嚴格按照考古類型學原理對其分型定式、分期并歸納鐃的發(fā)展規(guī)律。在探討銅鐃的源流問題上,本文采用類比的方法,將鐃與鈴和甬鐘的特點分別作比較。對銅鐃傳播問題的討論,采用反證的方法,將南方銅饒各階段特征還原到考古類型學的框架中作討論。對銅鐃合金成分的分析,采用科學檢測數(shù)據(jù)與傳世文獻相對照的方法進行。對銅鐃形制的討論則較多地借助于物理學原理。最后,對銅鐃音律、器物組合的討論,采用歸納總結(jié)的方式進行。 通過對銅鐃各方面問題的分析,本文建立了商周銅鐃的時空框架,銅鐃的起源、傳播、流向路徑清晰呈現(xiàn),合金比例、形制的實用功能較明確。同時,銅鐃與其他樂器的組合基本明朗,而銅編鐃中各鐃的音高、銅鐃與其他樂器的音高基本在同一音高區(qū)域,各套編鐃間的音程關(guān)系也較和諧,這是后世用樂制度的源頭。
[Abstract]:Copper cymbal is a kind of bronze musical instrument, which was popular in the period of Shang to Western Zhou Dynasty, mainly distributed in Anyang, Henan and Shandong areas in the north, and mainly in the Yangtze River basin and Lingnan area in the south. As an important bronze instrument in Shang and Zhou dynasties, bronze cymbal has always been a research topic of archaeology. At present, the research on copper cymbals is mainly in the field of archaeology and musicology. This paper collects copper cymbals from known unearthed sites in various parts of the country, classifies them from an archaeological point of view, and probes into some related problems. The first part of this paper is the introduction, which mainly discusses the reason of selecting this topic and the temporal and spatial category of the research object, the research history and value, the research method and the frame of the article, and the textual research of the name of bronze cymbal. The second and third parts are the typology of cymbals. In the fourth part, the origin, propagation, alloy composition, shape, range interval and instrument combination of cymbals are analyzed and discussed. The typology analysis of copper cymbals is the focus of this paper, and also the basis of other related discussions. This article strictly according to the archaeological typology principle of its classification formula, stages and summed up the development law of cymbal. In this paper, the characteristics of the cymbal, the bell and the Yongzhong, are compared by analogy. In this paper, the propagation of copper cymbal is discussed, and the characteristics of each stage in the south of Tongrao are reduced to the framework of archaeological typology by using the method of counter-proof. The analysis of the composition of copper cymbal alloy was carried out by the method of comparing the data of scientific detection with the literature. The discussion of the form of copper cymbal is mostly based on the principles of physics. Finally, the discussion on the rhythm of bronze cymbal and the combination of utensils is carried out by means of induction and summary. Based on the analysis of various aspects of copper cymbal, this paper establishes the space-time framework of Shang and Zhou Dynasty, the origin, propagation, flow path, alloy ratio and shape of copper cymbal are clear. At the same time, the combination of copper cymbal and other musical instruments is basically clear, while the pitch of each cymbal in copper cymbal is basically in the same pitch area as other instruments, and the relationship between the interval of each set of cymbals is also relatively harmonious, which is the source of the music system of later generations.
【學位授予單位】：山東大學
【學位級別】：碩士
【學位授予年份】：2011
【分類號】：K875.5

【引證文獻】

相關(guān)博士學位論文 前1條

1 郎劍鋒;吳越地區(qū)出土商周青銅器研究[D];山東大學;2012年

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本文編號：1822532