本文選題：五弦琵琶 + 四弦四相琵琶　； 參考：《星海音樂學(xué)院學(xué)報(bào)》2017年04期

【摘要】：從隋朝鄭譯與外來蘇祗婆樂調(diào)的對應(yīng)(587)起,燕樂調(diào)在琵琶上是經(jīng)過幾次轉(zhuǎn)變的:一次是由同宮系統(tǒng)轉(zhuǎn)向同音異名多調(diào)性運(yùn)用,到唐天寶十三載(754),太樂署供奉曲名及改諸樂名時(shí),已顯示出了這種轉(zhuǎn)變。另一次是大約在武后與玄宗之間(624—762)或玄宗末年與中唐之間(762—839),四弦四相琵琶定弦總體降低了四度,前者保留在當(dāng)今福建南琶定弦上;后者即為北琶廣泛采用,更促進(jìn)了多調(diào)性的運(yùn)用。再一次是在四弦四相琵琶總體降低四度之后,明確了低大二度的雙調(diào)定弦法,這大概是中唐以后才形成的格局。至此,這些均是圍繞撥彈樂器琵琶進(jìn)行的。但約中、后唐至宋朝,由于主奏樂器轉(zhuǎn)移到吹管樂器篳篥與笛上,樂調(diào)理論也隨之發(fā)生了變化。正如那時(shí)文體上出現(xiàn)游戲式的回文詩、璇璣圖那樣,音樂上也有類似游戲式的樂調(diào)排列,其實(shí),這與真正樂調(diào)的發(fā)展并無什么特別的關(guān)聯(lián),相反,則造成了燕樂不用徵調(diào)以及角調(diào)位置認(rèn)定等種種謎團(tuán),成為燕樂調(diào)的千古之謎。
[Abstract]:From the Sui Dynasty Zheng's translation to the foreign Su 'zhou-bo 's tune correspondence (No. 587), Yan's tune on the pipa has undergone several changes: once, from the same palace system to the use of homonyms and polytonics, to Tang Tianbao's 13 years of 754, when the Tai Yue Department consecrated the music titles and changed the musical names. This shift has been demonstrated. The other one was about 624-762) or between Xuanzong and Xuanzong (624-762) or between Xuanzong and the middle Tang Dynasty. The four-string and four-phase pipa strings were generally reduced by four degrees. The former was retained on the south of Fujian Province, and the latter was widely used in the northern part of the world. It also promotes the use of polytonicity. Once again, after the four-string and four-phase pipa was reduced by four degrees in general, it was clear that the double tuning method of low two degrees was only formed after the middle Tang Dynasty. At this point, these are around the plucked instrument pipa. However, from the later Tang Dynasty to the Song Dynasty, the music tune theory changed with the transfer of the principal instrument to the wind instrument. Just as game palindromes appeared in style at that time, so did Xuanji's pictures, and there was a similar game-style arrangement in music. In fact, this had nothing to do with the development of real music, on the contrary. It has caused the enigma of Yan Yue's unsoliciting and the position determination of the horn tune, which has become the riddle of Yan's music tune for a long time.
【作者單位】： 上海藝術(shù)研究所;
【分類號】：J632.33

【相似文獻(xiàn)】

相關(guān)期刊論文 前10條

1 湯君;中國隋唐燕樂與中亞音樂的關(guān)系[J];四川戲劇;2002年04期

2 習(xí)毅;一部揭示燕樂奧秘的著作——讀《燕樂新說》[J];音樂研究;2003年04期

3 趙宏聲;;論宋代九盞制宮廷燕樂表演[J];開封教育學(xué)院學(xué)報(bào);2009年01期

4 趙玉卿;;“燕樂音階”申論——兼與杜亞雄先生商榷[J];中國音樂學(xué);2011年02期

5 耿占軍;《唐代舞蹈》關(guān)于《燕樂》流變正誤[J];唐都學(xué)刊;1997年01期

6 傅瑜;;宋朝軍隊(duì)燕樂興起的背景分析[J];北方音樂;2011年09期

7 湯君;敦煌燕樂歌舞考略[J];文藝研究;2002年03期

8 曾美月;隋唐“燕樂”考[J];南通師范學(xué)院學(xué)報(bào)(哲學(xué)社會科學(xué)版);2004年01期

9 陳應(yīng)時(shí);燕樂“四宮”說的三錯(cuò)[J];中國音樂;2004年02期

10 張震英;曲徑通幽的絕學(xué)境界——讀劉崇德先生《燕樂新說》[J];藝術(shù)探索;2004年S2期

相關(guān)會議論文 前2條

1 劉崇德;徐文武;;燕樂聲樂化與詞體的產(chǎn)生[A];中國詩歌與音樂關(guān)系研究——第一屆與第二屆“中國詩歌與音樂關(guān)系”學(xué)術(shù)研討會論文集[C];2002年

2 岳珍;;隋唐燕樂小曲考論——關(guān)于詞體發(fā)生方式的研究[A];中國詩歌與音樂關(guān)系研究——第一屆與第二屆“中國詩歌與音樂關(guān)系”學(xué)術(shù)研討會論文集[C];2002年

相關(guān)碩士學(xué)位論文 前6條

1 趙穎;元代琵琶藝術(shù)探微[D];鄭州大學(xué);2017年

2 任雙;隋唐琵琶形制演變及其藝術(shù)繁盛[D];鄭州大學(xué);2017年

3 張t，

本文編號：1809208