本文選題：琵琶 + 二弦�。� 參考：《中國音樂學》2017年02期

【摘要】：從兩漢到明代,對于有品彈弦樂器而言,始終沒有出現(xiàn)過類似對琴的弦長、徽位音、按音等具體尺度的記載,直至清代乾隆御制《律呂正義后編》,才有了對琵琶、二弦等有品彈弦樂器的全弦長以及各品柱弦長的詳細記載。這對于有品彈弦樂器的音律研究,彌足珍貴。乾隆御制《律呂正義后編》所載之四象(相)十三品琵琶、十七品二弦二者弦度比之同一,且"以《史記》三分損益之法"順推宮聲所生之前六音,與"《管子》四開之法"逆推變徵所生之后六音,合而為十二音,即十二律。此十二律實為"五度相生律",亦可謂是傳統(tǒng)與西學的融合。乾隆御制《律呂正義后編》琵琶、二弦的象、品的律位設(shè)置,直觀為黃鐘均清商音階,而以夾鐘為宮,則是蔡元定所謂"燕樂以夾鐘收四聲",葛見堯《泰律·外篇》所云"徵不立調(diào),西涼之制;夾鐘為宮,清商之余"之明證。
[Abstract]:From the Han Dynasty to the Ming Dynasty, there was never any record of the length of strings, the sound of emblems, and the tone of the harp, which were similar to those of the stringed instruments. It was not until the Qianlong imperial system of the Qing Dynasty, "Lulu Justices", that there was a lute, did it appear that there was no such thing as a pipa? The length of the full string and the length of the string of each string are recorded in detail. This is valuable to the study of the rhythm of musical instruments. Qianlong's imperial system, the four images (phase) of thirteen pipas and the same chord ratio of seventeen pieces and two strings contained in the Book of Justice of Qianlong, and the first six tones produced by the sound of pushing the palace "with the method of three points of profit and loss in the Book of Records of the historian," And "the method of four open," after the inversion of the six tones, combined to 12, that is, 12 rhythm. The twelve laws are in fact the "five-degree law", which is also the fusion of tradition and western learning. Qianlong's Imperial system "Lulu after Justice" pipa, the two strings of the image, the product of the law of the setting, the Huang Zhong is the Qing Dynasty scale, and the clock for the palace, Cai Yuanding so-called, "Yan music with the clock received four", GE Jianyao, "the law of the outside" cloud, "the system of the West Liang; Jiao Zhong for the Palace, the Qing Dynasty outside the clear proof."
【作者單位】： 福建師范大學音樂學院;
【分類號】：J632.3

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